Pitch Recognition Research Articles

Two Processes in Melody Recognition

Melodies can be recognized (a) by recognition of the exact pitches in the melody and (b) by recognition of melodic contour—the sequence of ups and downs. Recognition memory for brief melodies shows that subjects use process (a) when melodies are repeated without transposition, and process (b) when the melody to be recognized is transposed in pitch. On each trial a pair of computer generated five-note melodies was presented. In different sessions the second melody of the pair was (1) either identical to the first or random; (2) either identical to the first or had the same contour with different interval sizes; or (3) either had the same contour or was random. In separate sessions the second melody was either transposed to another part of the pitch scale or not. Results show that without transposition conditions 1 and 2 are comparable (d′ = 2.8 and 3.0), suggesting that melody recognition is based on exact pitch recognition. With transposition Conditions 1 and 3 are comparable (d′ = 1.7 and 1.5), suggesting that contour recognition is important even in recognizing identical transpositions. Discriminating identical from contour preserving transpositions is difficult (Condition 2, d′ = 0.3). Performance in Condition 3 is comparable with and without transposition (d′ = 1.5 and 1.3).

"Polyacusis", a hearing anomaly.

A previously unrecognized anomaly of pitch perception was discovered by H. F. Stimson while testing his hearing. Signals above 3500 Hz did not produce the same pitch in each ear; the right ear's sensation was that of a sound at a lower frequency, for which he also had normal pitch perception. Between 3700 and 5200 Hz, the pitch perceived in the right ear was independent of the frequency of the stimulus. As intensity was raised, additional pitches appeared; and for an intense sound, a chord was heard whose constituents were not harmonically related. Stimson can match these anomalous pitches with sinusoidal stimuli of the appropriate lower frequency within about 2%; part of this variation is a change of pitch with intensity. Tones in his normal pitch range having a pronounced overtone structure are perceived as multiple. Overtones falling in the anomalous range give rise to the anomalous pitch. This would indicate a Fourier type of analysis before pitch recognition. Beats are not excited by interference between the pitches evoked by signals in the anomalous range and those heard normally. Loudness studies show signal powers to be additive. Tone-masking and loudness summation experiments yield data suggesting that the pitch recognition mechanism lies in that part of the auditory system in which loudness is perceived—i.e., beyond the cochlea.

Pitch Recognition for Isolated Musical Tones (Absolute Pitch)

The ability of certain individuals to identify, more or less accurately, isolated musical tones has been a subject of speculation for many years. The present paper will review the opinions of the more noted speculators and the meager empirical evidence (experimental and observational) on which explanations of absolute pitch are based, Differences and similarities between absolute pitch and analogous abilities in other sensory modalities will be discussed, especially in regard to information-handling capabilities of the various sensory systems.

Review of An experimental study of pitch recognition.

Review of An experimental study of pitch recognition.

An experimental study of pitch recognition.

An experimental study of pitch recognition.