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1
Mate-Cid, Saul. „Vibrotactile perception of musical pitch“. Thesis, University of Liverpool, 2013. http://livrepository.liverpool.ac.uk/16013/.
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Previous vibrotactile research has provided little or no definitive results on the discrimination and identification of important pitch aspects for musical performance such as relative and absolute pitch. In this thesis, psychophysical experiments using participants with and without hearing impairments have been carried out to determine vibrotactile detection thresholds on the fingertip and foot, as well as assess the perception of relative and absolute vibrotactile musical pitch. These experiments have investigated the possibilities and limitations of the vibrotactile mode for musical performance. Over the range of notes between C1 (32.7Hz) and C6 (1046.5Hz), no significant difference was found between the mean vibrotactile detection thresholds in terms of displacement for the fingertip of participants with normal hearing and with severe/profound hearing impairments. These thresholds have been used to identify an optimum dynamic range in terms of frequency-weighted acceleration to safely present vibrotactile music. Assuming a practical level of stimulation ≈10dB above the mean threshold, the dynamic range was found to vary between 12 and 27dB over the three-octave range from C2 to C5. Results on the fingertip indicated that temporal cues such as the transient and continuous parts of notes are important when considering the perception of vibrotactile pitch at suprathreshold levels. No significant difference was found between participants with normal hearing and with severe/profound hearing impairments in the discrimination of vibrotactile relative pitch from C3 to C5 using the fingertip without training. For participants with normal hearing, the mean percentage of correct responses in the post-training test was greater than 70% for intervals between four and twelve semitones using the fingertip and three to twelve semitones using the forefoot. Training improved the correct responses for larger intervals on fingertips and smaller intervals on forefeet. However, relative pitch discrimination for a single semitone was difficult, particularly with the fingertip. After training, participants with normal hearing significantly improved in the discrimination of relative pitch with the fingertip and forefoot. However, identifying relative and absolute pitch was considerably more demanding and the training sessions that were used had no significant effect.
2
Cross, Ian. „The cognitive organisation of musical pitch“. Thesis, City University London, 1989. http://openaccess.city.ac.uk/7663/.
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This thesis takes as its initial Premise the idea that the rationales for the forms of pitch organisation employed within tonal music which have been adopted by music theorists have strongly affected those theorists` conceptions of music, and that it is of critical importance to music theory to investigate the potential origination of such rationales within the human sciences. Recent studies of musical pitch perception and cognition are examined, and an attempt is made to assess their capacity to provide sustainable rationales for pitch organisation in tonal music. Theoretical and experimental studies that focus on sensory processes are critically reviewed, and it is suggested that these do not adequately characterise important aspects of musical pitch organisation. Studies that examine more central cognitive constraints are discussed, and a detailed critique is made of recent cognitive-structural approaches to the representation of musical pitch. It is proposed that a significant aspect of tonal pitch organisation, diatonic structure, is neither adequately investigated nor provided with any compelling rationale by these studies. Three series of experiments on the perception and representation of diatonic structure are presented: it is suggested that the sensitivity to properties of diatonic structure shown by listeners in these and in other experiments implies that a representation of diatonicinterval structure constitutes an important component of the cognitive organisation of musical pitch. A possible basis fort his sensitivity is further explored, and a group-theoretic rationale for the musical use of diatonicism is proposed. The nature of the cognitive representation of diatonic interval structure is discussed. and relationships between diatonic structure. other western scale forms. tonality and (briefly) atonality are outlined.
3
Descombes, Valérie. „Discrimination of pitch direction : a developmental study“. Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30159.
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The purpose of this study was to determine whether the ability to perceive pitch direction across a variety of melodic contours differs across grade levels. In addition, differences between responses to ascending versus descending patterns and between responses to two- versus three- versus four-note patterns were examined.The main study involved two experiments; Experiment 1 examined children's ability to identify pitch direction using a visual aid; Experiment 2 examined children's spontaneous notations of the same melodic contours.
The results showed a subsequent increase in mean scores from grades 1 to 6 across both tests. The clearest increase in ability occurred within the first three grades with a plateau reached by grade four. Same-pitch patterns received the highest overall means. The ability to identify direction using a visual aid was easier for children than to write spontaneous notations. Melodic contours with larger intervals were more easily perceived.
4
Kim, Jung-Kyong. „Effect of degraded pitch cues on melody recognition“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19681.
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Past studies of object recognition in vision and language have shown that (1) identification of the larger structure of an object is possible even if its component units are ambiguous or missing, and (2) contexts often influence the perception of the component units. The present study asked whether a similar case could be found in audition, investigating (1) whether melody recognition would be possible with uncertain pitch cues, and (2) whether adding contextual information would enhance pitch perception. Sixteen musically trained listeners attempted to identify, on a piano keyboard, pitches of tones in three different context conditions: (1) single tones, (2) pairs of tones, and (3) familiar melodies. The pitch cues were weakened using bandpass filtered noises of varying bandwidths. With increasing bandwidth, listeners were less able to identify the pitches of the tones. However, they were able to name the melodies despite their inability to identify the individual notes. There was no effect of context; whether or not listeners heard single tones, pairs of tones, or melodies did not influence their pitch identification of the tones. Several possible explanations were discussed regarding types of information that listeners had access to, since they could not have relied on detailed features of the melodies.
5
Kim, Jinho. „Automatic Pitch Detection and Shifting of Musical Tones in Real Time“. Thesis, Boston College, 2013. http://hdl.handle.net/2345/3057.
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Thesis advisor: Sergio AlvarezMusical notes are acoustic stimuli with specific properties that trigger a psychological perception of pitch. Pitch is directly associated with the fundamental frequency of a sound wave, which is typically the lowest frequency of a periodic waveform. Shifting the perceived pitch of a sound wave is most easily done by changing the playback speed, but this method warps some of the characteristics and changes the time scale. This thesis aims to accurately shift the pitch of musical notes while preserving its other characteristics, and it implements this in real time on an Android device. There are various methods of detecting and shifting pitch, but in the interests of simplicity, accuracy, and speed, a three step process is used. First, the fundamental pitch of a stable periodic section of the signal is found using the Yin pitch detection algorithm. Secondly, pitch marks that represent the local peak of energy are found, each spaced out by roughly one period (inverse of the fundamental frequency). Lastly, these marks are used in the Pitch Synchronous Overlap and Add (PSOLA) algorithm to generate a new signal with the desired fundamental frequency and similar acoustical characteristics to the original signal
Thesis (BS) — Boston College, 2013
Submitted to: Boston College. College of Arts and Sciences
Discipline: Computer Science Honors Program
Discipline: Computer Science
6
McLeod, Philip, und n/a. „Fast, accurate pitch detection tools for music analysis“. University of Otago. Department of Computer Science, 2009. http://adt.otago.ac.nz./public/adt-NZDU20090220.090438.
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Precise pitch is important to musicians. We created algorithms for real-time pitch detection that generalise well over a range of single �voiced� musical instruments. A high pitch detection accuracy is achieved whilst maintaining a fast response using a special normalisation of the autocorrelation (SNAC) function and its windowed version, WSNAC. Incremental versions of these functions provide pitch values updated at every input sample. A robust octave detection is achieved through a modified cepstrum, utilising properties of human pitch perception and putting the pitch of the current frame within the context of its full note duration. The algorithms have been tested thoroughly both with synthetic waveforms and sounds from real instruments. A method for detecting note changes using only pitch is also presented.
Furthermore, we describe a real-time method to determine vibrato parameters - higher level information of pitch variations, including the envelopes of vibrato speed, height, phase and centre offset. Some novel ways of visualising the pitch and vibrato information are presented.
Our project �Tartini� provides music students, teachers, performers and researchers with new visual tools to help them learn their art, refine their technique and advance their fields.
7
Ho, Kit-chun. „Development of pitch discrimination in preschool children“. Hong Kong : University of Hong Kong, 1990. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18035723.
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8
Lamont, Alexandra Mary. „The development of cognitive representations of musical pitch“. Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624265.
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9
Hamaoui, Kamil. „The perceptual grouping of musical sequences : pitch and timing as competing cues /“. Diss., Connect to a 24 p. preview or request complete full text in PDF formate. Access restricted to UC IP addresses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236630.
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10
Weaver, Aurora J. „The Influence of Musical Training and Maturation on Pitch Perception and Memory“. Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420490879.
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11
MacKenzie, Noah Aaron. „The kappa effect in pitch/time context“. Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1173114654.
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12
McGeough, Carol Sigrid Westdal. „Absolute pitch and the perception of sequential musical intervals“. Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26449.
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The perception of musical intervals by musicians can be envisaged
as being accomplished in one of two ways. Most musicians appear to have only one method for identifying musical intervals: they directly evaluate the musical interval between two notes. Musicians with absolute pitch (AP) appear to have two methods available for identifying intervals: they can either directly evaluate the musical interval, or they can first identify the two pitches, and then infer the musical interval between them. This study investigated the perception of sequential musical intervals by two groups of musicians, one group with AP and the other without
AP. In the first of four experiments, most subjects in both groups were able to name accurately standard sequential musical intervals based on the equal-tempered scale. In the second experiment, most subjects in the AP group were able accurately and consistently to name notes of the equal-tempered scale, whereas subjects without AP were not able to name them consistently or accurately. In the third experiment, subjects with AP identified, with varying degrees of accuracy and consistency, single notes spaced in 20-cent increments over a 9.4 semitone range, using the standard musical note names. This experiment also demonstrated that not all subjects had the same internal pitch reference. In the final and major experiment, subjects identified sequential musical intervals ranging in 20-cent steps from 260 to 540 cents, using the standard musical interval names. Subjects, both with and without AP, appeared to identify the intervals by directly evaluating the musical interval between the two notes, rather than first identifying the two pitches and then inferring the musical interval. One subject in the AP group showed a strong tendency to use the latter method, but only in certain contexts, the reason for which remains unexplained. Although more research is needed for stronger conclusions to be drawn, it appears that most musicians with AP do not use this ability in the identification of sequential musical intervals, relying instead on their sense of relative pitch.Medicine, Faculty of
Audiology and Speech Sciences, School of
Graduate
13
Ho, Kit-chun, und 何結珍. „Development of pitch discrimination in preschool children“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B31955915.
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14
Gratton, Martine. „The effect of three vocal models on uncertain singers' ability to match and discriminate pitches /“. Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59242.
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The purpose of this study was to investigate the effect of three different vocal timbres on uncertain singers' ability to match and discriminate pitches. Fifty-six children between six and eight year old were randomly assigned to one of four groups.In the Own Voices group, subjects were training in pitch matching using subjects' own voices. They trained in pitch discrimination using a model child voice as stimuli. In the Model Child group, subjects were training in pitch matching and pitch discrimination using a model child voice of the same sex and age as that of the subject. Subjects in the Female Adult group were training in pitch matching and pitch discrimination using a female adult voice as stimuli. Subjects in the control group had no training.
It was found that timbre affected uncertain singers' ability to match and discriminate pitches. Pitch matching to one's own voice was more accurate than pitch matching to a child's voice.
The discrimination of high and low pitches was more accurate when a model child's voice was used than when an adult voice was used.
15
Tung, Anne An-Yi Lin. „A Study Of Lu-Pitch Name Signification: A Translation with Commentary“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500549/.
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The purpose of this thesis is to provide translation of documents on lu from two primary sources for a study of the theory of ,lu, with the main focus on the interpretation and the signification attached to each of the twelve lu-pitch names. To establish the background information of the lu-10 system, an explanation of its acoustical properties is first presented. Based on the most important and widely used tonal system in ancient China -- the san-fen-sun-i system, the illustration is provided for the process of tone generation. Methods proposed by the main theorists who engaged in the discussion of the system of lu are presented. The introduction of the concept of yin and yang in reference to the twelve lu and the signification of the lu-lu system in relation to the human and natural world will also be discussed. The main body of this study is devoted to the translation of written references on the meaning of the twelve lu. The first part is the translation of the selected passages from The Anthology of the Historical Document of Ancient Chinese Music. edited by Tsai-Ping Liang; the second part is the translation of a modern exegesis from an article written by Deh-I Liu. This translation offers a perspective to understand the concept of l-pitch names from the ancient points of view in relation to philosophy, education, religion, and science.
16
Kizas, Andrew James. „Pitch organization and form in Bartók's sonata for piano (1926)“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0003/MQ42164.pdf.
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17
Meyer, Hwa-Soon. „A computer system to improve violin intonation /“. Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1154319x.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Harold Abeles. Includes bibliographical references (leaves 93-45).
18
Warrier, Catherine M. „Contextual effects in pitch processing : investigating neural correlates using complementary methodologies“. Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36848.
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This thesis includes four studies investigating neural correlates underlying pitch perception, and effects of tonal context on this percept. Each study addressed the issue from a unique methodological perspective. The first study confirmed that tonal context can affect the way a tone's pitch is perceived. In this study, normal listeners made pitch discriminations between tones varying in pitch and/or timbre, a difficult task when presented in isolation. Increasing tonal context increased performance, with melodic context providing the most facilitation.A similar task was presented to patients with unilateral focal excisions in the temporal lobe. Patients with right but not left temporal lobe lesions were impaired at using melodic cues to facilitate performance. Posterior extent of the lesions did not affect results, implying that right anterior temporal regions can process pitch information relative to tones heard previously. A functional magnetic resonance imaging (fMRI) study using a similar task with normal listeners found converging evidence. Melodic context produced the most activity in right anterior superior temporal gyrus (STG), as well as the most facilitation behaviorally.
A positron emission tomography study investigating neural processing of song stimuli broadened the investigation to include a comparison between musical and linguistic processing. Left frontal and temporal structures known to be involved in language processing were active when subjects attended to song lyrics, and right temporal-lobe structures were again implicated in melodic processing, suggesting that a song's lyrics and melodies are processed separately.
These studies find pitch processing in tonal contexts to involve right temporal-lobe structures. The right anterior STG in particular appears to be involved in processing pitch relative to previously heard tones. This suggests that the right anterior STG processes tones with respect to their tonal context, which entails holding contextual tones in memory while processing subsequent tones. This region has connections to right dorsolateral frontal areas previously implicated in tonal working memory, possibly providing a mechanism for holding contextual tones in memory. Supporting this theory, all contextual conditions in the fMRI study produced activity in right dorsolateral frontal cortex.
19
Vincent, Dennis Richard. „Ensemble pitch and rhythm error discrimination : the identification and selection of predictors“. Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/32443.
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This study investigated relationships between 36 predictor variables and ensemble pitch and rhythm error discrimination ability. Precollege musical background and other demographic data were collected by means of the Musical Background Questionnaire. Musical achievement was measured by the Aliferis-Stecklein Music Achievement Test, College Midpoint Level. Undergraduate musical coursework data were obtained from transcripts. The criterion variables were measured by the Ramsey-Vincent Test of Instrumental Error Detection; a test of aural-visual pitch and rhythm error discrimination for full-score band music of medium difficulty.
All three instruments were administered to 82 undergraduate music students. Subjects represented three Canadian universities and two community colleges.
Pearson product-moment correlation tests were used to identify variables significantly related to musical ensemble error discrimination at the .10 level of significance. Eighteen variables were found to be significantly related to ensemble pitch error discrimination. Fourteen variables were found to be significantly related to ensemble rhythm error discrimination.
Regression procedures were performed for each of the significant variables. These variables were then organized into
blocks representing precollege musical background, other demographic variables, musical achievement, and undergraduate coursework. Regressions were performed for each of the blocks. Musical achievement, precollege musical background, demographic, and undergraduate coursework blocks of variables accounted for 5, 15, 35, and 21 percent of the variance in ensemble pitch error discrimination scores respectively. Musical achievement, precollege musical background, demographic, and undergraduate coursework blocks of variables accounted for 21, 16, 19, and 12 percent of the variance in ensemble rhythm error discrimination scores respectively. Combinations of variables from these blocks produced a linear model comprised of five demographic variables plus precollege choral experience that accounted for 42 percent of the variance in ensemble pitch error discrimination scores. Combinations of variables from the four blocks produced a linear model of ensemble rhythm error discrimination comprised of rhythmic discrimination, choice of a band instrument as one's major performance medium, composition as one's program major, and precollege band or orchestral experience. These four variables accounted for 32 percent of the variance in ensemble rhythm error discrimination scores.
The variables selected for use in this study accounted for a substantial portion of the variance in error discrimination scores. To improve the predictive power of future studies, other variables need to be identified and included in the model. Ten conclusions were made regarding the prediction of ensemble error prediction ability. Three recommendations were made for improving error discrimination training and seven recommendations were made for future research in ensemble error discrimination.Education, Faculty of
Graduate
20
Walker, Jonathan. „Musique abstraite : numerus sonorus and the musical work“. Thesis, Queen's University Belfast, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314157.
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21
Edwards, S. L. „Pitch perception, production and musical development of hearing impaired children“. Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1416297/.
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Children with cochlear hearing loss are offered a range of intervention devices to manage their hearing impairment. The most common devices fitted are hearing aids, cochlear implants or a combination of both (bimodal stimulation with a cochlear implant on one ear and hearing aid on the other). The main goal of these devices is to improve listening and communication for speech and language development. However in more recent years additional focus has been given to non-speech sounds such as music. Pitch is an important aspect of music because it carries the melody; however it is represented differently by the different devices used. The impact this has on children’s musical ability is not fully understood. This thesis explores this area and aims to determine if groups of hearing impaired children who use different intervention devices have a differential impact on pitch perception, singing and general musical ability. The primary research question addressed within the thesis was, do differences exist between different groups of hearing-impaired children who use different amplification devices for general musical ability, pitch perception and singing ability?.Fifty seven children aged between 4 and 9 years old (15 Cochlear implantees, 21 hearing aid users, 8 children with bimodal stimulation and 13 normally hearing children) were assessed for pitch perception and singing while their parents completed a questionnaire on their general musical ability. Results indicated that children using purely electrical stimulation (bilateral cochlear implants) performed more poorly for pitch perception, than children using acoustic information either through bilateral hearing aids or bimodal stimulation. This result was not demonstrated for singing competency, however a reduced comfortable singing range and greater voice irregularity was observed for the cochlear implantees when singing. Normally hearing children performed better with respect to pitch perception and singing competency but did not show a significantly better score for musical enjoyment or involvement in comparison to all three hearing impaired groups. The results indicate that the bimodal configuration could provide some benefits for pitch perception for hearing-impaired children that have useable residual hearing. This doesn’t however extend to pitch production in terms of singing competency. The findings derived from this research study are important not only to build on current research literature but also to inform future clinical practice.
22
Ragozzine, Frank. „Investigations of the tritone paradox and perception of octave-related complexes /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9907595.
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23
Fancher, Joseph E. „Pitch organization in the Turangalîla-symphonie of Olivier Messiaen /“. view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080583.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 304-313). Also available for download via the World Wide Web; free to University of Oregon users.
24
Meredith, David. „Computing pitch names in tonal music : a comparative analysis of pitch spelling algorithms“. Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:fa543bd6-cbdc-4206-a6f6-518f54c8c49a.
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A pitch spelling algorithm predicts the pitch names (e.g., C♯4, B♭5 etc.) of the notes in a passage of tonal music, when given the onset-time, MIDI note number and possibly the duration and voice of each note. A new algorithm, called ps13, was compared with the algorithms of Longuet-Higgins, Cambouropoulos, Temperley and Chew and Chen by running various versions of these algorithms on a ‘clean’, score-derived test corpus, C, containing 195972 notes, equally divided between eight classical and baroque composers. The standard deviation of the accuracies achieved by each algorithm over the eight composers was used to measure style dependence (SD). The best versions of the algorithms were tested for robustness to temporal deviations by running them on a ‘noisy’ version of the test corpus, denoted by C'. A version of ps13 called PS13s1 was the most accurate of the algorithms tested, achieving note accuracies of 99.44% (SD = 0.45) on C and 99.41% (SD = 0.50) on C'. A real-time version of PS13s1 also out-performed the other real-time algorithms tested, achieving note accuracies of 99.19% (SD = 0.51) on C and 99.16% (SD = 0.53) on C'. PS13s1 was also as fast and easy to implement as any of the other algorithms. New, optimised versions of Chew and Chen’s algorithm were the least dependent on style over C. The most accurate of these achieved note accuracies of 99.15% (SD = 0.42) on C and 99.12% (SD = 0.47) on C'. It was proved that replacing the spiral array in Chew and Chen’s algorithm with the line of fifths never changes its output. A new, optimised version of Cambouropoulos’s algorithm made 8% fewer errors over C than the most accurate of the versions described by Cambouropoulos himself. This algorithm achieved note accuracies of 99.15% (SD = 0.47) on C and 99.07% (SD = 0.53) on C'. A new implementation of the most accurate of the versions described by Cambouropoulos achieved note accuracies of 99.07% (SD = 0.46) on C and 99.13% (SD = 0.39) on C', making it the least dependent on style over C'. However, Cambouropoulos’s algorithms were among the slowest of those tested. When Temperley and Sleator’s harmony and meter programs were used for pitch spelling, they were more affected by temporal deviations and tempo changes than any of the other algorithms tested. When enharmonic changes were ignored and the music was at a natural tempo, these programs achieved note accuracies of 99.27% (SD = 1.30) on C and 97.43% (SD = 1.69) on C'. A new implementation, called TPROne, of just the first preference rule in Temperley’s theory achieved note accuracies of 99.06% (SD = 0.63) on C and 99.16% (SD = 0.52) on C'. TPROne’s performance was independent of tempo and less dependent on style than that of the harmony and meter programs. Of the several versions of Longuet-Higgins’s algorithm tested, the best was the original one, implemented in his music.p program. This algorithm achieved note accuracies of 98.21% (SD = 1.79) on C and 98.25% (SD = 1.71) on C', but only when the data was processed a voice at a time. None of the attempts to take voice-leading into account in the algorithms considered in this study resulted in an increase in note accuracy and the most accurate algorithm, PS13s1, ignores voice-leading altogether. The line of fifths is used in most of the algorithms tested, including PS13s1. However, the superior accuracy achieved by PS13s1 suggests that pitch spelling accuracy can be optimised by modelling the local key as a pitch class frequency distribution instead of a point on the line of fifths, and by keeping pitch names close to the local tonic(s) on the line of fifths rather than close on the line of fifths to the pitch names of neighbouring notes.
25
Henry, Robert E. „Judgment of Intonation in the Context of Three-Part Woodwind Ensemble Performances“. Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331444/.
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The purpose of the study was to determine judgments of trained musicians regarding the intonation of complex tones in the context of synthesized woodwind ensemble performances. Problems included in the study were (1) estimation of the point in pitch deviation which would result in out-of-tune judgments, (2) investigation of timbral effects on judged intonation, and (3) investigation of effects of mistuning within differential voices.
26
Wile, Daryl J. „On the electrophysiological correlates of missing fundamental pitch perception and nonlinear distortion in the frequency-following response“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99212.
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The frequency-following response (FFR) is a scalp-recorded evoked potential which faithfully mimics an auditory stimulus waveform. Some research has attempted to relate the FFR to pitch perception based on FFR spectral peaks which correspond to the perceived pitch of the evoking stimulus, but these explanations are not definitive because the pitch of the evoking stimulus is often equal to the waveform envelope frequency or nonlinear distortion products also represented in the FFR. The experiments herein attempt to clarify the relevance of the FFR to pitch perception and as an assay of nonlinear distortion in the auditory system. Using harmonic and inharmonic "missing fundamental" complex tone stimuli, it is demonstrated that: (a) missing fundamental pitch is not represented as a spectral peak in the FFR, (b) the FFR contains energy at the stimulus envelope frequency, primary tone frequencies, and nonlinear distortion product frequencies, and (c) human pitch perception can be predicted by a weighted average of envelope-locked and phase-locked neural activity in the FFR. The origin and properties of nonlinear distortion products measured in the FFR are also investigated.
27
Vande, Wege Renee Michelle. „The effect of tonal pattern instruction on the singing voice development of first grade students“. Diss., Connect to online resource - MSU authorized users, 2005.
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28
Franks, Douglas Keith. „An Investigation of a Group of Third Graders' Pitch Matching Skills When Using Male Voice, Piano, and Resonator Bells as Melodic Models“. Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500493/.
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The purpose was to measure any statistically significant differences in pitch-matching skills among three classes of third grade students when using either adult male voice, piano, or resonator bells as melodic models for rote instruction of classroom singing. Each class was randomly assigned one of the three melodic models for a ten week treatment phase. Results indicated no significant differences in pitch matching skills between any of the three groups. No significant differences in pitch matching skills were found according to gender of subjects or among class piano students and non-piano students. Findings indicated overall improvement in pitch matching skills of subjects from pre-test to post-test phase.
29
Wood, Tabitha. „Recognition memory for musical pitch and rhythm is resistant to interference“. Thesis, Wood, Tabitha (2019) Recognition memory for musical pitch and rhythm is resistant to interference. Honours thesis, Murdoch University, 2019. https://researchrepository.murdoch.edu.au/id/eprint/55030/.
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Recognition performance for most stimuli decreases as the amount of interference between exposure and recognition increases. However, for a few select stimuli—music, poetry and line drawings—recognition performance shows little to no disruption by interference. The novel Regenerative Multiple Representations (RMR) conjecture proposes that for these select stimuli, our experience influences how they are perceived and encoded into memory. In the case of music, conformity to the compositional rules of the music that a listener is accustomed to, influences whether or not they perceive a stimulus as musical. If a stimulus is perceived as musical, the memory of this stimulus will consist of multiple memory representations which provides resistance to the cumulative disruptive effects of interference. The present study aims to get closer to the precise mechanisms that drive this resilience. In order to do this, we used melodies that conform to fewer compositional rules of Western music compared to musical stimuli that previously showed resilience; yet more rules compared to stimuli that previously showed no resilience. Recognition performance for 90 participants was measured across three experiments, with Experiments 2 and 3 isolating the pitch and rhythm information, respectively. Results from all three experiments showed resistance to the effects of interference with up to 106 intervening items. These findings suggest that the strength of enculturation on memory for melodies is so powerful that even the small amount of recognisable musical information (in the stimuli used in the present study), was enough to trigger the processes described by the RMR conjecture.
Memory is a complex and essential aspect of human experience. Recognition memory—deciding whether an object has been encountered before—has fascinated cognitive psychologists for decades. The current consensus is that recognition memory consists of two separate mechanisms: recollection and familiarity (Rugg & Yonelinas, 2003; Yonelinas, 2002). Recollection, refers to high confidence recognition of stimuli based on their specific features, e.g. when and where it was previously encountered (Yonelinas, 1994). Familiarity, on the other hand, refers to low confidence recognition based on remembering previous encounters, but being unable to recall specific details (Yonelinas, 1994). For example, running in to someone that you know you have met before, but being unable to recall when, where or the person’s name. For the present study, memory recognition based on familiarity is sufficient as we are more interested in the mechanisms of forgetting (i.e. interference) rather than the extent of the participant’s recognition (Yonelinas, 2001).
Decay and interference refer to two mechanisms of forgetting (Sadeh, Ozubko, Winocur, & Moscovitch, 2014). Decay denotes forgetting as a result of time passing, whereas interference, the focus of the present paper, infers forgetting as a result of additional stimuli encountered during presentation and retrieval of a given target object (Herff, 2017; Sadeh et al., 2014). A continuous recognition paradigm—the task used in the present study—is an explicit memory task that is not only used for testing memory recognition but also the effects of interference (Shepard & Teghtsoonian, 1961). The continuous recognition paradigm involves presenting a set of stimuli to participants, multiple times, in a continuous stream. This allows the researcher to manipulate interference levels by changing the number of intervening items (interveners) between the first and subsequent presentations of a given item (Shepard & Teghtsoonian, 1961). For example, Olson (1969) used a continuous recognition paradigm to investigate the effects of interference on memory for trigrams (random 3 character combinations). The experiment consisted of a set of 334 trigrams, namely 20 target trigrams repeated 1 to 9 times, and 314 distractor trigrams (interveners) resulting in between 0-70 interveners between any initial and subsequent presentations of a target trigram. The present study is different, however, as the entire set of melodies are target items. The structure of the continuous recognition paradigm used in the present study is discussed further in the Analysis subsection of the General Method section.
The continuous recognition paradigm is different to other explicit tests of memory recognition in which the stimuli are usually presented in blocks (i.e., a block of stimuli to learn and a test block in which stimuli from the learning block need to be identified) (Schaal, Javadi, Halpern, Pollok, & Banissy, 2015). However, the continuous recognition paradigm is more relatable to the continuous recognition of everyday life as there is no distinct learning and test phase (Herff, 2017; Schwartz, 2016). For example, everyday life consists of a constant stream of multiple incoming stimuli through all sensory systems, that act as interference on each other. Furthermore, it is not always apparent when any incoming information will need to be recalled.
Recognition performance for the majority of stimuli decreases due to the cumulative disruptive effect of interveners (Olson, 1969; Sadeh et al., 2014). For example, a disruptive effect of interveners is found in; verbally presented words with 1 - 32 interveners (Buchsbaum, Padmanabhan, & Berman, 2011); visually presented words with 0 – 64 interveners (Poon & Fozard, 1980); photographs of household objects with up to 12 interveners (Yeung, Ryan, Cowell, & Barense, 2013); short letter-number combinations presented visually and verbally with 0 – 32 interveners (Le Breck & Baron, 1987); positive and negatively valanced faces with 10 – 15 interveners (Treese, Johansson, & Lindgren, 2010); sentences with 4 - 8 interveners (Tillmann & Dowling, 2007) and visual rhythm - expressed through flashing lights with 6 – 8 interveners (Collier & Logan, 2000). However, the disruptive effect of interveners on recognition is not found, when using a few select stimuli.
Firstly, melodies that consist of compositional rules that match the musical rules developed and accepted in the participant’s culture (Herff & Czernochowski, 2019; Herff, Olsen, & Dean, 2018) are especially resistant to interference, even with up to 197 interveners (Herff, Olsen, & Dean, 2018). Compositional rules can be thought of as a type of grammar in musical language. Just like grammatical rules for language allow for a shared understanding, the expectations that compositional rules create helps people understand and enjoy music (Vuvan, 2012). For example, there are many compositional rules specific to Western music such as tonality (all pitches being in a musical key) and predictable rhythm. However, when melodies that do not conform to the musical rules from a participant’s culture are used, the disruptive effect of interveners surfaces (Herff, Olsen, Dean, & Prince, 2018).
Secondly, line drawings show no significant reduction in recognition performance as a result of interveners whereas photographs do (Berman, Friedman, & Cramer, 1991). Thirdly, memory for poetry shows resistance to forgetting as a result of interference (Tillmann & Dowling, 2007). The regenerative multiple representations (RMR) conjecture (Herff, Olsen, & Dean, 2018) is a novel theory that has been proposed to explain why some stimuli demonstrate resilience to interference.
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Riegle, Aaron. „The pitch matching ability of high school choral students“. Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/621.
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Suek, Daniel Sai Hang. „Dual-pitch separation for harmonically-related pitches and noisy sounds /“. View Abstract or Full-Text, 2002. http://library.ust.hk/cgi/db/thesis.pl?COMP%202002%20SUEK.
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Thesis (M. Phil.)--Hong Kong University of Science and Technology, 2002.Includes bibliographical references (leaves 56-61). Also available in electronic version. Access restricted to campus users.
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Cattley, Gary Thomas. „Cognitive Interference in the Perception of Pitch and Loudness in a Five-note Musical Pattern“. Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278446/.
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The purpose of the study was to explore whether musicians experience Garner interference among the auditory dimensions of pitch and loudness. Specifically, the study explored whether the dimensions of intonation and loudness, when presented to musicians in a five-note musical pattern, were perceived as integral or separable in nature.
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Wang, Dongning, und 王東寧. „The effect of augmented auditory feedback on pitch accuracy by untrained adults“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196500.
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Accuracy in pitch production is fundamental to both singing and language. Since accurate control of pitch is a complicated motor control process, no conclusions can be drawn yet for the reasons why some individuals have trouble producing accurate pitches in singing, although different possible causes have been proposed in the literature such as deficits in pitch perception, pitch memory and mismatch of pitch range. Additionally, since auditory feedback plays a crucial role in the pitch control, some behavioral experiments have been conducted in the literature that involve manipulation of auditory feedback so as to remedy those with inaccurate pitch during singing but the effects varied. However, those studies in the literature had various limitations and mostly recruited participants who were speakers of non-tonal languages. The present study investigated the effect of augmented auditory feedback (AAF) as a method of feedback manipulation on pitch accuracy as well as its relationship with the three possible causes for pitch inaccuracy mentioned above. A total of 43 tonal-language-speaking adult participants who had no formal training of singing were recruited to participant in two tasks to measure their pitch accuracy: single-tone pitch matching and singing a familiar song. All participants were native speakers of tonal languages: Mandarin or Cantonese. The results showed that pitch accuracy was not significantly improved by AAF although moderately inaccurate singers seemed to benefit consistently in pitch matching task. The post-hoc analysis revealed that the intertrial consistency of the singer’s performance was significantly improved for inaccurate singers in both tasks. As for the causes for pitch inaccuracy, both pitch perception and pitch memory were found to have moderate correlation with pitch inaccuracy while mismatch of vocal range of the participants and the pitch targets seemed to be a major cause for most of the inaccurate participants.published_or_final_version
Speech and Hearing Sciences
Master
Master of Philosophy
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Watkins, Sharon C. (Sharon Carp). „Vocal Pitch-Matching: The Effect of Singing into the Right Ears of Fifth-Grade Students“. Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500713/.
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This study investigated whether fifth-grade students would sing more accurately when responding to pitch stimuli presented to the right ear as compared to left and both ears. Students were also classified as either strongly right-handed or other (left-handed or mixed) to see if ear treatment responses would differ with handedness. Sixty-six students were tested on their attempts to match 12 model pitches. Identical tests were given to each subject on 3 different days, with a different ear treatment each day. Vocal response scores were significantly better for both-ear presentation than for left-ear. No significant difference was found between right and both ears, right and left ears, or between handedness groups.
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Genuys, Grégoire. „Non-commutative homometric musical structures and chord distances in geometric pitch spaces“. Thesis, Paris 6, 2017. http://www.theses.fr/2017PA066576/document.
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Nous étudions deux thématiques principales : l'homométrie non-commutative dans des produits semi-directs, et une notion de distance entre accords musicaux. deux melodies sont dites homométriques si elles possèdent le même ensemble d'intervalles : nous transposons cette notion a un enchainement d'accords et plus généralement a des produits semi-directs, ce qui permet d'élaborer un cadre pour l'étude de l'homométrie dans des groupes non-commutatifs, tels que le groupe diédral. nous définissons dans une deuxième partie une mesure de distances entre des accord musicaux n'ayant pas le même nombre de notes, a partir d'une distance basée sur le concept de voice-leadingWe study two main topics: non-commutative homometry and the notion of distance between musical chords. Two melodies are homometric if they share the same set of intervals. We transpose this notion to a chord sequence and more generally to semi-direct products, which allows to build a framework for the general study of homometry in non-commutative groups, such as the dihedral group. In the second part we define a mesure of distance between musical chords of different cardinalities, from a distance based on the notion of voice-leading
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Tommis, Yvonne. „Teaching pre-school children to perform from conventional music notation : an exploration of different methods“. Thesis, Bangor University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342574.
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Mishra, Taniya. „Decomposition of fundamental frequency contours in the general superpositional intonation model /“. Full text open access at:, 2008. http://content.ohsu.edu/u?/etd,654.
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Gates, Bernard. „The codification of pitch organisation in the early atonal works of Alban Berg“. n.p, 1998. http://ethos.bl.uk/.
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Dennis, Walter Rudyard. „The conductor's toolkit : a diagnostic intonation software design proposal /“. Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11360.
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Byron, Timothy Patrick. „The processing of pitch and temporal information in relational memory for melodies“. View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/37492.
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Thesis (Ph.D.) -- University of Western Sydney, 2008.A thesis submitted to the University of Western Sydney, College of Arts, School of Psychology, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographical references.
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Granzow, John, und University of Lethbridge Faculty of Arts and Science. „Ventriloquial dummy tones : embodied cognition of pitch direction“. Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Psychology, c2010, 2010. http://hdl.handle.net/10133/2558.
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Tone pairs constructed with the frequencies of the overtones moving in opposition to the
missing fundamental frequencies they imply, produce expertise differences in the tracking
of pitch direction. One interpretation of this result is that it arises as a function of rudimentary
differences in the perceptual systems of musicians and non-musicians. Several
experiments suggest instead a more embodied source of expertise to be found in vocal mediation
such that the effect of musical experience in these tasks is the result of the most
salient action of musicians: making sound.x, 87 leaves : ill. ; 29 cm
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Gerhardt, Kris. „The tritone paradox : an experimental and statistical analysis /“. *McMaster only, 2002.
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Ling, Cheong Wai. „The late Scriabin : pitch organization and form in the works of 1910-14“. Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333287.
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Atwell, Scott David. „Cadence, linear procedures and pitch structure in the works of Johannes Ockeghem“. Full text available online (restricted access), 2001. http://images.lib.monash.edu.au/ts/theses/Atwell.pdf.
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Moyer, Karen E. (Karen Elizabeth). „A Survey of Singers: Is Mental Imagery Used in the Conceptualization of Pitch and Vowel?“ Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500626/.
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Mental imagery is a common theme in research that clarifies
how musical thought relates to musical performance. Unfortunately,
minimal information exists regarding mental imagery and singers.
The purpose of this study was to probe the role, if any, mental imagery plays in the conceptualization of pitch and vowel. By interviewing singers at differing levels of expertise, basic information was obtained about the mental processes used by singers. Through evaluations of the singers' mental processes, it was concluded that 95% of the singers in the study employed mental imagery. All singers described using kinesthetic imagery, while the majority implemented sensory and auditory imagery. Viso-spatial imagery was implemented among the more experienced singers. The majority of singers also reported: imaging pitch and vowel interactively; imaging from an internal perspective; and utilizing mental rehearsal. Less than half of the singers described using methods other than mental imagery to conceptualize pitch and vowel.
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Moreno, Sala María Teresa. „The influence of perceptual shift, cognitive abilities and environmental factors on young children's development of absolute and relative pitch perception /“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85941.
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The main purpose of the present study was to investigate whether a shift from absolute to relative pitch perception occurs during early childhood. Other factors that can influence the development of absolute pitch, such as cognitive abilities and the child's environment were examined. Young children completed (n=88): (1) a variety of pitch tasks (absolute and relative pitch tests) prior to and after two months of focused instruction on absolute and relative pitch, (2) tests of cognitive abilities, and (3) a questionnaire gathering information about family musical environment.The results indicate that a shift from absolute to relative perception occurs between the ages of 5 and 7. Children younger than six demonstrated limited ability to perform relational tasks such as ordering bells, identifying transposed intervals, and comparing pitches. However, they memorized target pitches better than the older children, matched target tones on the xylophone and sang newly learned songs in their original key more often than did the older children. Older children benefited to a larger extent from the training on relative pitch. Cognitive and spatial abilities were related to absolute pitch development: children who identified pitches better had a more sequential and a less simultaneous way of processing information. Family musical environment seems to have influenced the development of absolute pitch. Implications for the acquisition of absolute pitch are discussed.
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Fukuchi, Hidetoshi. „The Pitch Content of Selected Piano Works of Toru Takemitsu“. Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278515/.
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The purpose of this study is to examine the pitch content and compositional techniques of Takemitsu's recent solo piano works, which have not been analyzed by Koozin, and to trace the evolution of his techniques in his solo piano works during his career. It also discusses how Takemitsu projects his philosophy and aesthetics of musical composition through Western musical idioms.
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Brown, Helen. „The effects of set content and temporal context of pitches on musicians' aural perception of tonality /“. The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487262825076471.
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Müller, Anna-Maria. „Intonasie in fluitspel [electronic resource] /“. Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-09302008-111355/.
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Malandraki, Georgia A. „Persisting effects of aspiration and penetration on voice quality and vocal pitch“. Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1103140461.
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