Dial A440 for absolute pitch

Absolute pitch memory by non-absolute pitch possessors

Nicholas A Smith, Mark A. Schmuckler

Research output: Contribution to journalArticle

32 Citations (Scopus)

Abstract

Listeners without absolute (or "perfect") pitch have difficulty identifying or producing isolated musical pitches from memory. Instead, they process the relative pattern of pitches, which remains invariant across pitch transposition. Musically untrained non-absolute pitch possessors demonstrated absolute pitch memory for the telephone dial tone, a stimulus that is always heard at the same absolute frequency. Listeners accurately classified pitch-shifted versions of the dial tone as "normal," "higher than normal" or "lower than normal." However, the role of relative pitch processing was also evident, in that listeners' pitch judgments were also sensitive to the frequency range of stimuli.

Original languageEnglish (US)
JournalJournal of the Acoustical Society of America
Volume123
Issue number4
DOIs
StatePublished - Apr 14 2008

Fingerprint

dials
stimuli
telephones
frequency ranges
Absolute pitch
Listeners
Possessor
Stimulus

ASJC Scopus subject areas

  • Acoustics and Ultrasonics

Cite this

Dial A440 for absolute pitch : Absolute pitch memory by non-absolute pitch possessors. / Smith, Nicholas A; Schmuckler, Mark A.

In: Journal of the Acoustical Society of America, Vol. 123, No. 4, 14.04.2008.

Research output: Contribution to journalArticle

@article{ed97f256280c4f7f8ea830ea6547b959,
title = "Dial A440 for absolute pitch: Absolute pitch memory by non-absolute pitch possessors",
abstract = "Listeners without absolute (or {"}perfect{"}) pitch have difficulty identifying or producing isolated musical pitches from memory. Instead, they process the relative pattern of pitches, which remains invariant across pitch transposition. Musically untrained non-absolute pitch possessors demonstrated absolute pitch memory for the telephone dial tone, a stimulus that is always heard at the same absolute frequency. Listeners accurately classified pitch-shifted versions of the dial tone as {"}normal,{"} {"}higher than normal{"} or {"}lower than normal.{"} However, the role of relative pitch processing was also evident, in that listeners' pitch judgments were also sensitive to the frequency range of stimuli.",
author = "Smith, {Nicholas A} and Schmuckler, {Mark A.}",
year = "2008",
month = "4",
day = "14",
doi = "10.1121/1.2896106",
language = "English (US)",
volume = "123",
journal = "Journal of the Acoustical Society of America",
issn = "0001-4966",
publisher = "Acoustical Society of America",
number = "4",

}

TY - JOUR

T1 - Dial A440 for absolute pitch

T2 - Absolute pitch memory by non-absolute pitch possessors

AU - Smith, Nicholas A

AU - Schmuckler, Mark A.

PY - 2008/4/14

Y1 - 2008/4/14

N2 - Listeners without absolute (or "perfect") pitch have difficulty identifying or producing isolated musical pitches from memory. Instead, they process the relative pattern of pitches, which remains invariant across pitch transposition. Musically untrained non-absolute pitch possessors demonstrated absolute pitch memory for the telephone dial tone, a stimulus that is always heard at the same absolute frequency. Listeners accurately classified pitch-shifted versions of the dial tone as "normal," "higher than normal" or "lower than normal." However, the role of relative pitch processing was also evident, in that listeners' pitch judgments were also sensitive to the frequency range of stimuli.

AB - Listeners without absolute (or "perfect") pitch have difficulty identifying or producing isolated musical pitches from memory. Instead, they process the relative pattern of pitches, which remains invariant across pitch transposition. Musically untrained non-absolute pitch possessors demonstrated absolute pitch memory for the telephone dial tone, a stimulus that is always heard at the same absolute frequency. Listeners accurately classified pitch-shifted versions of the dial tone as "normal," "higher than normal" or "lower than normal." However, the role of relative pitch processing was also evident, in that listeners' pitch judgments were also sensitive to the frequency range of stimuli.

UR - http://www.scopus.com/inward/record.url?scp=41849091126&partnerID=8YFLogxK

UR - http://www.scopus.com/inward/citedby.url?scp=41849091126&partnerID=8YFLogxK

U2 - 10.1121/1.2896106

DO - 10.1121/1.2896106

M3 - Article

VL - 123

JO - Journal of the Acoustical Society of America

JF - Journal of the Acoustical Society of America

SN - 0001-4966

IS - 4

ER -