Pitch Strength of Residual Sounds Estimated Through Chroma Recognition by Absolute-Pitch Possessors

• Autorzy: Rogowski P. , Rakowski A.
• Języki publikacji: EN

Abstrakty

EN

Absolute pitch is a unique feature of the auditory memory which makes it possible for its possessors to recognize the musical name (chroma) of a tone. Six musicians with absolute pitch, selected from a group of 250 music students as best scoring in musical pitch-naming tests, identified the chroma of residue pitch produced by harmonic complex tones with several lower partials removed (residual sounds). The data show that the percentage of correct chroma recognitions decreases as the lowest physically existent harmonic in the spectrum is moved higher. According to our underlying hypothesis the percentage of correct chroma recognitions corresponds to the pitch strength of the investigated tones. The present results are compared with pitch strength values derived in an experiment reported by Houtsma and Smurzynski (1990) for tones same as those used in this study but investigated with the use of a different method which consisted in identification of musical intervals between two successive tones. For sounds comprising only harmonics of very high order the new method yields a very low pitch recognition level of about 20% while identification of musical intervals remains stable at a level of about 60%.

Słowa kluczowe

EN

absolute pitch; residual sounds; virtual pitch

• Wydawca: Instytut Podstawowych Problemów Techniki PAN ; Komitet Akustyki PAN ; Polskie Towarzystwo Akustyczne
• Czasopismo: Archives of Acoustics
• Rocznik: 2010
• Tom: Vol. 35, No. 3
• Strony: 331--347
• Opis fizyczny: Bibliogr. 27 poz., wykr.

Twórcy

autor

Rogowski P.

autor

Rakowski A.

• Fryderyk Chopin University of Music Okólnik 2, 00-368 Warszawa, Poland,

Bibliografia

• 1. Aranowska E., Rogowski P. (2000), The problem of sample size in the 2AFC procedure [in Polish], Proceedings of XLVII Open Seminar on Acoustics - OSA'2000, Rzeszów-Jawor, vol. II, 617-622.
• 2. Attneave F., Olson R.K. (1971), Pitch as medium: A new approach to psychophysical scaling, American Journal of Psychology, 84, 147-166.
• 3. Bachem A. (1937), Various types of absolute pitch, Journal of the Acoustical Society of America, 9, 146-151.
• 4. Burns E.M., Fetch L.L. (1983), Pitch of sinusoids and complex tones above 10 kHz, [in:] Hearing-Physiological Bases and Psychophysics, Klinke R., Hartmann R. [Eds.], Springer, Berlin.
• 5. Deutsch D., Henthorn T., Marvin E., Hongshuai X. (2006), Absolute pitch among American and Chinese conservatory students: Prevalence, differences, and evidence for a speech-related critical period (L), Journal of the Acoustical Society of America, 119, 719-722.
• 6. Fastl H. (1971), Pitch of noise [in German: Uber Tonhohen empfindungen bei Rauschen], Acustica, 25, 350-354.
• 7. Houtsma A.J.M. (2007), Experiments on pitch perception: Implications for music and other processes, Archives of Acoustics, 32, 3, 475-490.
• 8. Houtsma A.J.M., Goldstein J.L. (1972), Perception of musical intervals: Evidence from musical interval recognition, Journal of the Acoustical Society of America, 51, 520-529.
• 9. Houtsma A.J.M., Smurzynski J. (1990), Pitch identification and discrimination for complex tones with many harmonics, Journal of the Acoustical Society of America, 87, 304-310.
• 10. Hsieh I-H., Saberi K. (2007), Temporal integration in absolute identification of musical pitch, Hearing Research, 233, 108-116.
• 11. Makomaska S. (2008), The prevalence of various kinds of absolute pitch in students at Polish music schools [in Polish], unpublished doctoral dissertation, Warsaw University.
• 12. Makomaska S., Rakowski A. (2008), Absolute pitch and it's role in the system of music communication, Interdisciplinary Studies in Musicology, 7, 43-50.
• 13. Miyazaki K. (2007), Absolute pitch and its implications for music, Archives of Acoustics, 32, 3, 529-540.
• 14. Moore B.C.J. (1997), Introduction to Psychology of Hearing, Academic Press.
• 15. Ohgushi K., Hatoh T. (1991), Perception of the musical pitch of high frequency tones, [in:] 9th International Symposium on Hearing: Auditory Physiology and Perception, Cazals Y., Demany L. and Horner K. [Ed.] Pergamon, Oxford.
• 16. Pollack J. (1975), Auditory informational masking, Journal of the Acoustical Society of America, 57, Supp. 1, 5.
• 17. Rakowski A. (1968), Pitch of filtered noise, Reports of the 6th International Congress on Acoustics, Tokyo, Japan, A 105.
• 18. Rakowski A. (1976), Tuning of isolated musical intervals (A), Journal of the Acoustical Society of America, 59, Supp. 1, Spring, 50.
• 19. Rakowski A. (1978), Categorical perception of pitch in music [in Polish: Kategorialna percepcja wysokosci dźwięku w muzyce], State College of Music (PWSM) in Warsaw Publishing House, Warsaw, Poland.
• 20. Rakowski A. (2009), The domain of pitch in music, Archives of Acoustics, 34, 4, 429-443.
• 21. Rakowski A., Miskiewicz A. (1985), Deviations from equal temperament in tuning isolated musical intervals, Archives of Acoustics, 10, 95-104.
• 22. Rakowski A., Miyazaki K. (2007), Absolute pitch: Common traits in music and language, Archives of Acoustics, 32, 1, 5-16.
• 23. Rakowski A., Rogowski P., Makomaska S. (2008), Absolute pitch as a measuring device in psychoacoustic experiments, Proceedings of the International Conference on Music Perception and Cognition, Sapporo, Japan.
• 24. Ritsma R.J. (1967), Frequencies Dominant in the Perception of the Pitch of Complex sounds, Journal of the Acoustical Society of America, 42, 1, 191-198.
• 25. Schouten J.F. (1940), The perception of pitch, Philips Technical Review, 5, 286-294.
• 26. Schouten J.F., Ritsma R.J., Cardozo B.L. (1962), Pitch of the residue, Journal of the Acoustical Society of America, 34, 1418-1424.
• 27. Ward W.D. (1954), Subjective musical pitch, Journal of the Acoustical Society of America, 26, 369-380.