Representation Of Pitch Research Articles

Musicianship Modulates Cortical Effects of Attention on Processing Musical Triads

Background: Many studies have demonstrated the benefits of long-term music training (i.e., musicianship) on the neural processing of sound, including simple tones and speech. However, the effects of musicianship on the encoding of simultaneously presented pitches, in the form of complex musical chords, is less well established. Presumably, musicians’ stronger familiarity and active experience with tonal music might enhance harmonic pitch representations, perhaps in an attention-dependent manner. Additionally, attention might influence chordal encoding differently across the auditory system. To this end, we explored the effects of long-term music training and attention on the processing of musical chords at the brainstem and cortical levels. Method: Young adult participants were separated into musician and nonmusician groups based on the extent of formal music training. While recording EEG, listeners heard isolated musical triads that differed only in the chordal third: major, minor, and detuned (4% sharper third from major). Participants were asked to correctly identify chords via key press during active stimulus blocks and watched a silent movie during passive blocks. We logged behavioral identification accuracy and reaction times and calculated information transfer based on the behavioral chord confusion patterns. EEG data were analyzed separately to distinguish between cortical (event-related potential, ERP) and subcortical (frequency-following response, FFR) evoked responses. Results: We found musicians were (expectedly) more accurate, though not faster, than nonmusicians in chordal identification. For subcortical FFRs, responses showed stimulus chord effects but no group differences. However, for cortical ERPs, whereas musicians displayed P2 (~150 ms) responses that were invariant to attention, nonmusicians displayed reduced P2 during passive listening. Listeners’ degree of behavioral information transfer (i.e., success in distinguishing chords) was also better in musicians and correlated with their neural differentiation of chords in the ERPs (but not high-frequency FFRs). Conclusions: Our preliminary results suggest long-term music training strengthens even the passive cortical processing of musical sounds, supporting more automated brain processing of musical chords with less reliance on attention. Our results also suggest that the degree to which listeners can behaviorally distinguish chordal triads is directly related to their neural specificity to musical sounds primarily at cortical rather than subcortical levels. FFR attention effects were likely not observed due to the use of high-frequency stimuli (>220 Hz), which restrict FFRs to brainstem sources.

Molecular origin of viscoelasticity and influence of methylation in mesophase pitch

The viscoelastic and thermomechanical properties of pitches are responsible for their melt-spinning behavior, a critical step for manufacturing high-performance pitch-based carbon fibers. Here, we systematically explore the impact of methyl group modifications on the viscoelastic and thermal properties of mesophase pitches. We employ a range of atomistic modeling approaches, including Density Functional Theory (DFT), Density Functional Tight Binding (DFTB), and Classical Molecular Mechanics (MM), to provide detailed insights into the molecular interactions and structural changes. Our results revealed the molecular mechanisms that promote layered structures leading to the anisotropic nature of the viscoelastic behavior of mesophase pitch. Furthermore, we propose a modified molecular representation of naphthalene-based mesophase pitch based on the analysis of x-ray diffraction measurements. This study provides fundamental insights into the molecular structures of mesophase pitch and the role of methyl groups controlling its viscosity, which offer valuable insights into mesophase-based carbon fiber production.

Decoding contextual influences on auditory perception from primary auditory cortex.

Perception can be highly dependent on stimulus context, but whether and how sensory areas encode the context remains uncertain. We used an ambiguous auditory stimulus - a tritone pair - to investigate the neural activity associated with a preceding contextual stimulus that strongly influenced the tritone pair's perception: either as an ascending or a descending step in pitch. We recorded single-unit responses from a population of auditory cortical cells in awake ferrets listening to the tritone pairs preceded by the contextual stimulus. We find that the responses adapt locally to the contextual stimulus, consistent with human MEG recordings from the auditory cortex under the same conditions. Decoding the population responses demonstrates that cells responding to pitch-class-changes are able to predict well the context-sensitive percept of the tritone pairs. Conversely, decoding the individual pitch-class representations and taking their distance in the circular Shepard tone space predicts the opposite of the percept. The various percepts can be readily captured and explained by a neural model of cortical activity based on populations of adapting, pitch-class and pitch-class-direction cells, aligned with the neurophysiological responses. Together, these decoding and model results suggest that contextual influences on perception may well be already encoded at the level of the primary sensory cortices, reflecting basic neural response properties commonly found in these areas.

A tutorial and assignment on the analysis and syntheis of music to provide acoustic foundations for courses in the Psychology of Music and in Music Cognition

Students in courses in the Psychology of Music and in Music Cognition benefit from an understanding of aspects of musical acoustics. A tutorial assignment has been developed to provide hands-on experience in synthesizing acoustic elements and analyzing real music using Audacity®, freely downloadable software. The tutorial emphasizes visualizing waveforms and spectrographs of target sounds. For the synthesis component, students generate sine tones related by small integers on separate tracks and combine the tracks to create complex waves. Students must answer questions regarding frequency, amplitude, pitch, loudness, and sound quality. They are also asked to synthesize a sequence of successive notes of the chromatic scale, so as to understand the significance of the semitone ratio 21/12 (i.e., 1.05946), and they are asked to synthesize a sequence of successive notes from the diatonic scale. For the analysis component of the tutorial, students download a favourite piece of music, provide waveform and spectrographic representations, and answer questions about the representation of pitch, loudness, time and timbre. They also locate auditory repetitions and identify different sections of their piece. The students are asked to summarize what they have learned from the assignment. The assignment can be adapted for work in teams, and a detailed grading rubric facilitates student evaluation.

Not fully remembered, but not forgotten: interfering sounds worsen but do not eliminate the representation of pitch in working memory.

Recent research has begun measuring auditory working memory with a continuous adjustment task in which listeners adjust attributes of a sound to match a stimulus presented earlier. This approach captures auditory memory's continuous nature better than standard change detection paradigms that collect binary ("same or different") memory measurements. In two experiments, we assessed the impact of different interference stimuli (multitone complexes vs. white noise vs. silence) on the precision and accuracy of participants' reproductions of pitch from memory. Participants were presented with a target multitone complex stimulus followed by eight successive interference signals. Across trials, these signals alternated between additional multitone complexes, randomly generated white noise samples, or (in Experiment 2) silence. This was followed by a response period where participants adjusted the pitch of a response stimulus using a MIDI touchpad to match the target. Experiment 1 found a significant effect of interference type on performance, with tone interference signals producing the greatest impairments to participants' accuracy and precision compared to white noise. Interestingly, it also found a compression in the participants' responses, with overestimations of low-frequency targets and underestimations for high-frequency targets. Experiment 2 replicated results from Experiment 1, with an additional silence condition showing the best performance, suggesting that non-tonal signals also generate interference. In general, results support a shared resource model of working memory with a limited capacity that can be flexibly allocated to hold items in memory with varying levels of fidelity. Interference does not appear to knock items out of a fixed precision slot, but rather robs a portion of capacity from stored items.

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.

Cortical representation of musical pitch in event-related potentials

Neural coding of auditory stimulus frequency is well-documented; however, the cortical signals and perceptual correlates of pitch have not yet been comprehensively investigated. This study examined the temporal patterns of event-related potentials (ERP) in response to single tones of pitch chroma, with an assumption that these patterns would be more prominent in musically-trained individuals than in non-musically-trained individuals. Participants with and without musical training (N = 20) were presented with seven notes on the C major scale (C4, D4, E4, F4, G4, A4, and B4), and whole-brain activities were recorded. A linear regression analysis between the ERP amplitude and the seven notes showed that the ERP amplitude increased or decreased as the frequency of the pitch increased. Remarkably, these linear correlations were anti-symmetric between the hemispheres. Specifically, we found that ERP amplitudes of the left and right frontotemporal areas decreased and increased, respectively, as the pitch frequency increased. Although linear slopes were significant in both groups, the musically-trained group exhibited marginally steeper slope, and their ERP amplitudes were most discriminant for frequency of tone of pitch at earlier latency than in the non-musically-trained group (~ 460 ms vs ~ 630 ms after stimulus onset). Thus, the ERP amplitudes in frontotemporal areas varied according to the pitch frequency, with the musically-trained participants demonstrating a wider range of amplitudes and inter-hemispheric anti-symmetric patterns. Our findings may provide new insights on cortical processing of musical pitch, revealing anti-symmetric processing of musical pitch between hemispheres, which appears to be more pronounced in musically-trained people.

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.

Measuring embodied conceptualizations of pitch in singing performances: Insights from an OpenPose study

People conceptualize auditory pitch as vertical space: low and high pitch correspond to low and high space, respectively. The strength of this cross-modal correspondence, however, seems to vary across different cultural contexts and a debate on the different factors underlying this variation is currently taking place. According to one hypothesis, pitch mappings are semantically mediated. For instance, the use of conventional metaphors such as “falling” or “rising” melodies strengthens a pitch-height mapping to the detriment of other possible mappings (e.g., pitch as bright/dark color or small/big size). Hence, entrenched pitch terms shape specific conceptualizations. The deterministic role of language is called into question by the hypothesis that different pitch mappings share a less constraining conceptual basis. As such, conceptual primitives may be concretizedad hocinto specific domains so that more local variation is possible. This claim is supported, for instance, by the finding that musicians use language-congruent (conventional) and language-incongruent (ad hoc) mappings interchangeably. The present paper substantiates this observation by investigating the head movements of musically trained and untrained speakers of Dutch in a melody reproduction task, as embodied instantiations of a vertical conceptualization of pitch. The OpenPose algorithm was used to track the movement trajectories in detail. The results show that untrained participants systematically made language-congruent movements, while trained participants showed more diverse behaviors, including language-incongruent movements. The difference between the two groups could not be attributed to the level of accuracy in the singing performances. In sum, this study argues for a joint consideration of more entrenched (e.g., linguistic metaphors) and more context-dependent (e.g., musical training and task) factors in accounting for variability in pitch representations.

Effects of Temporal Envelope Cutoff Frequency, Number of Channels, and Carrier Type on Brainstem Neural Representation of Pitch in Vocoded Speech.

The objective of this study was to determine if and how the subcortical neural representation of pitch cues in listeners with normal hearing is affected by systematic manipulation of vocoder parameters. This study assessed the effects of temporal envelope cutoff frequency (50 and 500 Hz), number of channels (1-32), and carrier type (sine-wave and noise-band) on brainstem neural representation of fundamental frequency (f o) in frequency-following responses (FFRs) to vocoded vowels of 15 young adult listeners with normal hearing. Results showed that FFR f o strength (quantified as absolute f o magnitude divided by noise floor [NF] magnitude) significantly improved with 500-Hz vs. 50-Hz temporal envelopes for all channel numbers and both carriers except the 1-channel noise-band vocoder. FFR f o strength with 500-Hz temporal envelopes significantly improved when the channel number increased from 1 to 2, but it either declined (sine-wave vocoders) or saturated (noise-band vocoders) when the channel number increased from 4 to 32. FFR f o strength with 50-Hz temporal envelopes was similarly small for both carriers with all channel numbers, except for a significant improvement with the 16-channel sine-wave vocoder. With 500-Hz temporal envelopes, FFR f o strength was significantly greater for sine-wave vocoders than for noise-band vocoders with channel numbers 1-8; no significant differences were seen with 16 and 32 channels. With 50-Hz temporal envelopes, the carrier effect was only observed with 16 channels. In contrast, there was no significant carrier effect for the absolute f o magnitude. Compared to sine-wave vocoders, noise-band vocoders had a higher NF and thus lower relative FFR f o strength. It is important to normalize the f o magnitude relative to the NF when analyzing the FFRs to vocoded speech. The physiological findings reported here may result from the availability of f o-related temporal periodicity and spectral sidelobes in vocoded signals and should be considered when selecting vocoder parameters and interpreting results in future physiological studies. In general, the dependence of brainstem neural phase-locking strength to f o on vocoder parameters may confound the comparison of pitch-related behavioral results across different vocoder designs.

Mental representations of speech and musical pitch contours reveal a diversity of profiles in autism spectrum disorder.

As a key auditory attribute of sounds, pitch is ubiquitous in our everyday listening experience involving language, music and environmental sounds. Given its critical role in auditory processing related to communication, numerous studies have investigated pitch processing in autism spectrum disorder. However, the findings have been mixed, reporting either enhanced, typical or impaired performance among autistic individuals. By investigating top-down comparisons of internal mental representations of pitch contours in speech and music, this study shows for the first time that, while autistic individuals exhibit diverse profiles of pitch processing compared to non-autistic individuals, their mental representations of pitch contours are typical across domains. These findings suggest that pitch-processing mechanisms are shared across domains in autism spectrum disorder and provide theoretical implications for using music to improve speech for those autistic individuals who have language problems.

Formant-invariant voice and pitch representations are pre-attentively formed from constantly varying speech and non-speech stimuli.

The present study investigated whether listeners can form abstract voice representations while ignoring constantly changing phonological information and if they can use the resulting information to facilitate voice change detection. Further, the study aimed at understanding whether the use of abstraction is restricted to the speech domain or can be deployed also in non‐speech contexts. We ran an electroencephalogram (EEG) experiment including one passive and one active oddball task, each featuring a speech and a rotated speech condition. In the speech condition, participants heard constantly changing vowels uttered by a male speaker (standard stimuli) which were infrequently replaced by vowels uttered by a female speaker with higher pitch (deviant stimuli). In the rotated speech condition, participants heard rotated vowels, in which the natural formant structure of speech was disrupted. In the passive task, the mismatch negativity was elicited after the presentation of the deviant voice in both conditions, indicating that listeners could successfully group together different stimuli into a formant‐invariant voice representation. In the active task, participants showed shorter reaction times (RTs), higher accuracy and a larger P3b in the speech condition with respect to the rotated speech condition. Results showed that whereas at a pre‐attentive level the cognitive system can track pitch regularities while presumably ignoring constantly changing formant information both in speech and in rotated speech, at an attentive level the use of such information is facilitated for speech. This facilitation was also testified by a stronger synchronisation in the theta band (4–7 Hz), potentially pointing towards differences in encoding/retrieval processes.

Mapping Pitch Accents to Memory Representations in Spoken Discourse Among Chinese Learners of English: Effects of L2 Proficiency and Working Memory.

We examined L2 learners’ interpretation of pitch accent cues in discourse memory and how these effects vary with proficiency and working memory (WM). One hundred sixty-eight L1-Chinese participants learning L2-English listened to recorded discourses containing pairs of contrastive alternatives and then took a later recognition memory test. Their language proficiency and WM were measured through standard tests and the participants were categorized into low, medium, advanced, and high advanced language proficiency groups. We analyzed recognition memory task performance using signal detection theory to tease apart response bias (an overall tendency to affirm memory probes) from sensitivity (the ability to discern whether a specific probe statement is true). The results showed a benefit of contrastive L + H* pitch accents in rejecting probes referring to items unmentioned in a discourse, but not contrastive alternatives themselves. More proficient participants also showed more accurate memory for the discourses overall, as well as a reduced overall bias to affirm the presented statements as true. Meanwhile, that the benefit of L + H* accents in rejecting either contrast probes or unmentioned probes was modulated for people with greater working memory. Participants with higher WM were quite sure that it did not exist in the memory trace as this part of discourse wasn’t mentioned. The results support a contrast-uncertainty hypothesis, in which comprehenders recall the contrast set but fail to distinguish which is the correct item. Further, these effects were influenced by proficiency and by working memory, suggesting they reflect incomplete mapping between pitch accent and discourse representation.

Principal component decomposition of acoustic and neural representations of time-varying pitch reveals adaptive efficient coding of speech covariation patterns

Understanding the effects of statistical regularities on speech processing is a central issue in auditory neuroscience. To investigate the effects of distributional covariance on the neural processing of speech features, we introduce and validate a novel approach: decomposition of time-varying signals into patterns of covariation extracted with Principal Component Analysis. We used this decomposition to assay the sensory representation of pitch covariation patterns in native Chinese listeners and non-native learners of Mandarin Chinese tones. Sensory representations were examined using the frequency-following response, a far-field potential that reflects phase-locked activity from neural ensembles along the auditory pathway. We found a more efficient representation of the covariation patterns that accounted for more redundancy in the form of distributional covariance. Notably, long-term language and short-term training experiences enhanced the sensory representation of these covariation patterns.

Distinct Representations of Tonotopy and Pitch in Human Auditory Cortex.

Frequency-to-place mapping, or tonotopy, is a fundamental organizing principle throughout the auditory system, from the earliest stages of auditory processing in the cochlea to subcortical and cortical regions. Although cortical maps are referred to as tonotopic, it is unclear whether they simply reflect a mapping of physical frequency inherited from the cochlea, a computation of pitch based on the fundamental frequency, or a mixture of these two features. We used high-resolution functional magnetic resonance imaging (fMRI) to measure BOLD responses as male and female human participants listened to pure tones that varied in frequency or complex tones that varied in either spectral content (brightness) or fundamental frequency (pitch). Our results reveal evidence for pitch tuning in bilateral regions that partially overlap with the traditional tonotopic maps of spectral content. In general, primary regions within Heschl's gyri (HGs) exhibited more tuning to spectral content, whereas areas surrounding HGs exhibited more tuning to pitch.SIGNIFICANCE STATEMENT Tonotopy, an orderly mapping of frequency, is observed throughout the auditory system. However, it is not known whether the tonotopy observed in the cortex simply reflects the frequency spectrum (as in the ear) or instead represents the higher-level feature of fundamental frequency, or pitch. Using carefully controlled stimuli and high-resolution functional magnetic resonance imaging (fMRI), we separated these features to study their cortical representations. Our results suggest that tonotopy in primary cortical regions is driven predominantly by frequency, but also reveal evidence for tuning to pitch in regions that partially overlap with the tonotopic gradients but extend into nonprimary cortical areas. In addition to resolving ambiguities surrounding cortical tonotopy, our findings provide evidence that selectivity for pitch is distributed bilaterally throughout auditory cortex.

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.

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.

Time-dependent discrimination advantages for harmonic sounds suggest efficient coding for memory

Perceptual systems have finite memory resources and must store incoming signals in compressed formats. To explore whether representations of a sound's pitch might derive from this need for compression, we compared discrimination of harmonic and inharmonic sounds across delays. In contrast to inharmonic spectra, harmonic spectra can be summarized, and thus compressed, using their fundamental frequency (f0). Participants heard two sounds and judged which was higher. Despite being comparable for sounds presented back-to-back, discrimination was better for harmonic than inharmonic stimuli when sounds were separated in time, implicating memory representations unique to harmonic sounds. Patterns of individual differences (correlations between thresholds in different conditions) indicated that listeners use different representations depending on the time delay between sounds, directly comparing the spectra of temporally adjacent sounds, but transitioning to comparing f0s across delays. The need to store sound in memory appears to determine reliance on f0-based pitch and may explain its importance in music, in which listeners must extract relationships between notes separated in time.

Human and Computation-based Music Representation for Gamelan Music

A public database containing representative data of karawitan traditional music is needed as a resource for researchers who study computer music and karawitan. To establish this database, a text-based pitch model for music representation that is both human and computer-based was first investigated. A new model of musical representation that can be read by humans and computers is proposed to support music and computer research on karawitan also known as gamelan music. The model is expected to serve as the initial effort to establish a public database of karawitan music representation data. The proposed model was inspired by Helmholtz Notation and Scientific Pitch Notation and well-established, text-based pitch representation systems. The model was developed not only for pitch number, high or low or middle pitch information (octave information), but for musical elements found in gamelan sheet music pieces that include pitch value and legato signs. The model was named Gendhing Scientific Pitch Notation (GSPN). Ghending is a Javanese word that means “song”. The GSPN model was designed to represent music by formulating musical elements from a sheet music piece. Furthermore, the model can automatically be converted to other music representation formats. In the experiment, data in the GSPN format was implemented to automatically convert sheet music to a binary code with localist representation technique.

Place-Pitch Interval Perception With a Cochlear Implant.

Pitch is poorly perceived by cochlear implant (CI) users. However, as it is not well understood how pitch is encoded with electric stimulation, improving pitch representation with a CI is challenging. Changes in place of stimulation along the cochlea have been described as changes in pitch and can be accurately ranked by CI users. However, it remains unknown if place-pitch can be used to encode musical intervals, which are a necessary attribute of pitch. The objective of these experiments is to determine if place-pitch coding can be used to represent musical intervals with a CI. In the first experiment, 10 CI users and 10 normal hearing (NH) controls were tested on their sensitivity to changes in the semitone spacing between each of the notes in the melody "Happy Birthday." The changes were implemented by uniformly expanding or compressing the frequency differences between each note in the melody. The participant's task was to scale how "out-of-tune" the melody was for various semitone spacing distortions. The notes were represented by pure-tones ≥440 Hz to minimize potential useful temporal information from the stimuli. A second experiment replicated the first experiment using single-sided deafened CI users allowing for a within-subject control. A third experiment verified that the CI users who participated in Experiment 1 were each able to determine pitch direction reliably. Unlike NH listeners, CI listeners often ranked all distortions of interval spacing similarly in both the first and second experiment, and no effect of interval spacing was detected across CI users. Some participants found distorted interval spacings to be less out-of-tune than the nominally correct interval spacings. However, these patterns were inconsistent across listeners. Although performance was better for the NH listeners, the third experiment demonstrated that the CI listeners were able to reliably identify changes in pitch direction from place-pitch coding. The data suggest that place-pitch intervals are not properly represented through a CI sound processor. Some limited support is found for place-pitch being useful for interval encoding as some participants demonstrated improved ratings for certain interval distortions. Presumably the interval representation for these participants could be improved by a change to the frequencies represented by each electrode. However, as these patterns vary across listeners, there is not a universal correction to frequency representation that will solve this issue. As results are similar for single-sided deafened CI users, the limitations in ratings are likely not limited by an eroded representation of the melody caused by an extended duration of deafness.