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Bispham, John C. "Music's “design features”: Musical motivation, musical pulse, and musical pitch." Musicae Scientiae 13, no. 2_suppl (September 2009): 41–61. http://dx.doi.org/10.1177/1029864909013002041.
This paper focuses on the question of what music is, attempting to describe those features of music that generically distinguish it from other forms of animal and human communication — music's “design features”. The author suggests that music is generically inspired by musical motivation — an intrinsic motivation to share convergent intersubjective endstates - and is universally identifiable by the presence of musical pulse — a maintained and volitionally controlled attentional pulse — and/or musical pitch — a system for maintaining certain relationships between pitches. As such music's design features are viewed as providing an interpersonal framework for synchronous and group affective interaction. The implications of this approach to an evolutionary perspective on music and on arguments of the primary evolutionary functionality of musical abilities in human evolution are discussed.
Previous studies have demonstrated that absolute pitch (AP) possessors can directly perceive the musical pitch quality (pitch class) of a tone presented in isolation. However, an isolated tone without musical context has no relevance to music, and AP ability should be examined in musically meaningful situations. In this study, AP possessors tried to identify the musical intervals between pairs of successive tones. The first tone (a reference) was either in-tune C according to the conventional pitch standard or out-of-tune C (a quarter-tone higher than standard C). The identification performance was less accurate and slower in the out-of-tune reference condition than in the in-tune condition. In contrast, AP nonpossessors showed no significant difference in performance in the two conditions, as predicted by the principle of equality under transposition. These results suggest that AP subjects tend to adhere to AP in relative pitch tasks, and that at least some AP listeners may have developed a strong dependence on AP at the sacrifice of relative pitch. AP may not have any advantage in music, in which relative pitch, not AP, is essential. Rather, AP may conflict with relative pitch and, in some cases, harm musical pitch processing.
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Deutsch, Diana. "Paradoxes of Musical Pitch." Scientific American 267, no. 2 (August 1992): 88–95. http://dx.doi.org/10.1038/scientificamerican0892-88.
Burns, Edward M. "Perception of musical pitch." Journal of the Acoustical Society of America 101, no. 5 (May 1997): 3172. http://dx.doi.org/10.1121/1.419195.
While determining an appropriate tempo is crucial to music performers, composers and listeners, few empirical studies have investigated the musical factors affecting tempo choices. In two experiments we examined how aspects of musical pitch affect tempo choice, by asking participants (musically trained and untrained) to adjust the tempi of melodic sequences varying in pitch register and pitch direction, as well as sequences typically associated with specific registers in common period music. In Experiment 1, faster tempi were assigned to higher registers. Specific melodic direction (rise vs. fall) did not affect tempo preferences; nevertheless, pitch change in both directions elicited faster tempi than a repeating, unchanging pitch. The effect of register on tempo preference was stronger for participants with music training, and also (unexpectedly) for female participants. In Experiment 2, melodic figures typically related to lower and higher parts in common-period music were associated with slower and faster tempi, respectively. Results support a “holistic” notion of musical tempo, viewing the choice of proper tempo as determined by interactions among diverse musical dimensions, including aspects of pitch structure, rather than by rhythmic considerations alone. The experimental design presented here can be further applied to explore the effects of other musical parameters on tempo preferences.
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Miyazaki, Ken'ichi. "Absolute Pitch as an Inability: Identification of Musical Intervals in a Tonal Context." Music Perception 11, no. 1 (1993): 55–71. http://dx.doi.org/10.2307/40285599.
Absolute pitch is generally believed to be a remarkable ability, whose possessors can quite accurately identify musical pitch characteristics (pitch classes) of single tones presented in isolation. However, identifying pitch out of context is irrelevant and even meaningless to music. It is unclear how listeners with absolute pitch process musical pitch information in more meaningful musical situations. The present experiment was done to examine how listeners with absolute pitch perform in a relative pitch task. Listeners tried to identify melodic intervals of various sizes (260–540 cents) presented in three different tonal contexts established by a preceding tonal cadence. Listeners without absolute pitch showed equal accuracy and speed in doing the task in the three tonal contexts, as expected from the principle of transposability of musical pitch relations. In contrast, some absolute pitch listeners snowed a marked decline in accuracy and longer response times in the F# major and the out-of-tune E major contexts compared with the C major context. This result suggests that some absolute pitch listeners are relatively poor in identifying pitch relations in tonal contexts and sometimes tend to stick to absolute pitch even in a task that needs relative pitch, resulting in poor performance in perceiving musical pitch relations.
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Aruffo, Christopher, Robert L. Goldstone, and David J. D. Earn. "Absolute Judgment of Musical Interval Width." Music Perception 32, no. 2 (December 1, 2014): 186–200. http://dx.doi.org/10.1525/mp.2014.32.2.186.
When a musical tone is sounded, most listeners are unable to identify its pitch by name. Those listeners who can identify pitches are said to have absolute pitch perception (AP). A limited subset of musicians possesses AP, and it has been debated whether musicians’ AP interferes with their ability to perceive tonal relationships between pitches, or relative pitch (RP). The present study tested musicians’ discrimination of relative pitch categories, or intervals, by placing absolute pitch values in conflict with relative pitch categories. AP listeners perceived intervals categorically, and their judgments were not affected by absolute pitch values. These results indicate that AP listeners do not infer interval identities from the absolute values between tones, and that RP categories are salient musical concepts in both RP and AP musicianship.
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Creel, Sarah C., Reina Mizrahi, Alicia G. Escobedo, Li Zhao, and Gail D. Heyman. "No Heightened Musical Pitch Weighting For Tone Language Speakers in Early Childhood." Music Perception 40, no. 3 (February 1, 2023): 193–201. http://dx.doi.org/10.1525/mp.2023.40.3.193.
Numerous studies suggest that speakers of some tone languages show advantages in musical pitch processing compared to non-tone language speakers. A recent study in adults (Jasmin et al., 2021) suggests that in addition to heightened pitch sensitivity, tone language speakers weight pitch information more strongly than other auditory cues (amplitude, duration) in both linguistic and nonlinguistic settings compared to non-tone language speakers. The current study asks whether pitch upweighting is evident in early childhood. To test this, two groups of 3- to 5-year-old children—tone-language speakers (n = 48), a group previously shown to have a perceptual advantage in musical pitch tasks (Creel et al., 2018), and non-tone-language speakers (n = 48)—took part in a musical “word learning” task. Children associated two cartoon characters with two brief musical phrases differing in both musical instrument and contour. If tone language speakers weight pitch more strongly, cue conflict trials should show stronger pitch responding than for non-tone speakers. In contrast to both adult speakers’ stronger pitch weighting and child and adult pitch perception advantages, tone-language-speaking children did not show greater weighting of pitch information than non-tone-language speaking children. This suggests a slow developmental course for pitch reweighting, contrasting with apparent early emergence of pitch sensitivity.
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Repp, Bruno H., and Carol L. Krumhansl. "Cognitive Foundations of Musical Pitch." American Journal of Psychology 104, no. 4 (1991): 612. http://dx.doi.org/10.2307/1422945.
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.
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Cross, Ian. "The cognitive organisation of musical pitch." Thesis, City University London, 1989. http://openaccess.city.ac.uk/7663/.
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.
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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.
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.
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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.
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.
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Kim, Jinho. "Automatic Pitch Detection and Shifting of Musical Tones in Real Time." Thesis, Boston College, 2013. http://hdl.handle.net/2345/3057.
Thesis advisor: Sergio Alvarez Musical 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
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McLeod, Philip, and 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.
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.
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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.
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.
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.
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.
Hartmann, William M. "Pitch." In Principles of Musical Acoustics, 137–44. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6786-1_13.
Mazzola, Guerino, Joomi Park, and Florian Thalmann. "The Pitch Aspect." In Musical Creativity, 37–46. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-24517-6_8.
Moravcsik, Michael J. "Pitch and Musical Scales." In Musical Sound, 115–26. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0577-8_9.
Bader, Rolf. "Pitch, Melody, Tonality." In Nonlinearities and Synchronization in Musical Acoustics and Music Psychology, 403–37. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-36098-5_13.
Ruditsa, Roman. "Relative Musical Pitch in Formal Definition." In Current Research in Systematic Musicology, 3–17. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-85886-5_1.
Gockel, Hedwig E., and Robert P. Carlyon. "Do Zwicker Tones Evoke a Musical Pitch?" In Advances in Experimental Medicine and Biology, 419–26. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-25474-6_44.
Järveläinen, Hanna, Stefano Papetti, and Eric Larrieux. "Accuracy of Musical Pitch Control Through Finger Pushing and Pulling." In Haptic and Audio Interaction Design, 125–34. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-15019-7_12.
Eitan, Zohar. "Cross-modal experience of musical pitch as space and motion." In Body, Sound and Space in Music and Beyond: Multimodal Explorations, 49–68. Abingdon, Oxon; New York, NY: Routledge, 2017. | Series: SEMPRE studies in the psychology of music: Routledge, 2017. http://dx.doi.org/10.4324/9781315569628-4.
Carelli, John. "Melody-Based Pitch Correction Model for a Voice-Driven Musical Instrument." In Transactions on Computational Science and Computational Intelligence, 609–27. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70873-3_43.
Borchgrevink, H. M. "Prosody, musical rhythm, tone pitch and response initiation during amytal hemisphere anaesthesia." In Music, Language, Speech and Brain, 327–43. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-12670-5_31.
Shono, Takeshi, Takahiro Emoto, Udantha R. Abeyratne, Masatake Akutagawa, and Yohsuke Kinouchi. "A Human Absolute Pitch Model for Identifying Musical Pitch." In Biomedical Engineering. Calgary,AB,Canada: ACTAPRESS, 2016. http://dx.doi.org/10.2316/p.2016.832-050.
Hung, Yun-Ning, I.-Tung Chiang, Yi-An Chen, and Yi-Hsuan Yang. "Musical Composition Style Transfer via Disentangled Timbre Representations." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/652.
Music creation involves not only composing the different parts (e.g., melody, chords) of a musical work but also arranging/selecting the instruments to play the different parts. While the former has received increasing attention, the latter has not been much investigated. This paper presents, to the best of our knowledge, the first deep learning models for rearranging music of arbitrary genres. Specifically, we build encoders and decoders that take a piece of polyphonic musical audio as input, and predict as output its musical score. We investigate disentanglement techniques such as adversarial training to separate latent factors that are related to the musical content (pitch) of different parts of the piece, and that are related to the instrumentation (timbre) of the parts per short-time segment. By disentangling pitch and timbre, our models have an idea of how each piece was composed and arranged. Moreover, the models can realize “composition style transfer” by rearranging a musical piece without much affecting its pitch content. We validate the effectiveness of the models by experiments on instrument activity detection and composition style transfer. To facilitate follow-up research, we open source our code at https://github.com/biboamy/instrument-disentangle.
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Jensen, K. "Pitch independent prototyping of musical sounds." In 1999 IEEE Third Workshop on Multimedia Signal Processing (Cat. No.99TH8451). IEEE, 1999. http://dx.doi.org/10.1109/mmsp.1999.793823.
Bharathi, V., Asaph Abraham A., and R. Ramya. "Vocal pitch detection for musical transcription." In 2011 International Conference on Signal Processing, Communication, Computing and Networking Technologies (ICSCCN 2011). IEEE, 2011. http://dx.doi.org/10.1109/icsccn.2011.6024645.
Marques, Lucas. "A chord distance metric based on the Tonal Pitch Space and a key-finding method for chord annotation sequences." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10435.
Music Information Retrieval (MIR) is a growing field of research concerned about recovering and generating useful information about music in general. One classic problem of MIR is key-finding, which could be described as the activity of finding the most stable tone and mode of a determined musical piece or a fragment of it. This problem, however, is usually modeled for audio as an input, sometimes MIDI, but little attention seems to be given to approaches considering musical notations and musictheory. This paper will present a method of key-finding that has chord annotations as its only input. A new metric is proposed for calculating distances between tonal pitch spaces and chords, which will be later used to create a key-finding method for chord annotations sequences. We achieve a success rate from 77.85% up to 88.75% for the whole database, depending on whether or not and how some parameters of approximation are configured. We argue that musical-theoretical approaches independent of audio could still bring progress to the MIR area and definitely could be used as complementary techniques.
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Lostanlen, Vincent, Sripathi Sridhar, Brian McFee, Andrew Farnsworth, and Juan Pablo Bello. "Learning the Helix Topology of Musical Pitch." In ICASSP 2020 - 2020 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2020. http://dx.doi.org/10.1109/icassp40776.2020.9053644.
Lu Qin, Qiang Li, and Xin Guan. "Pitch extraction for musical signals with modified AMDF." In 2011 International Conference on Multimedia Technology (ICMT). IEEE, 2011. http://dx.doi.org/10.1109/icmt.2011.6001799.
Ning, Li-Hsin. "Musical Memory and Pitch Discrimination Abilities as Correlates of Vocal Pitch Control for Speakers with Different Tone and Musical Experiences." In 10th International Conference on Speech Prosody 2020. ISCA: ISCA, 2020. http://dx.doi.org/10.21437/speechprosody.2020-125.
Atsushi Todo and Hideyuki Sawada. "Estimation of musical pitch by using comb filters for the identification of musical instruments." In SICE Annual Conference 2007. IEEE, 2007. http://dx.doi.org/10.1109/sice.2007.4421064.
Hagel, Stefan. Understanding early auloi: Instruments from Paestum, Pydna and elsewhere. Verlag der Österreichischen Akademie der Wissenschaften, October 2021. http://dx.doi.org/10.1553/oeai_ambh_3.
Starting from data on the ‘Paestum’ or ‘Poseidonia’ aulos established by Paul andBarbara Reichlin-Moser and Stelios Psaroudakēs, the ‘Pydna’ aulos, and comparable finds ofearly, mainly six-hole one-hole-shift, doublepipe fragments, possible musical interpretations ofthis important instrument type of the early Classical Period are considered. Probable pitchesand intervals are assessed by means of well-tested software and confirmed experimentally;the required double reeds of a much longer type than known from later periods are shownto be substantiated by iconographic and literary testimony. The harmonic analysis of theinstruments proposes the notion of a rudimentary tetrachordal structure, with equallydivided tetrachords, which is both plausible in terms of music-ethnological parallels and thedevelopment of ancient musical theory. Some of the studied instruments appear to adhereto an early pitch standard, seemingly coinciding with the typical cithara octave. Criticalevaluation of literary sources finally leads to a cautious interpretation as ‘Lydian’ instruments.
