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Relevant bibliographies by topics / Pitch discrimination

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Academic literature on the topic 'Pitch discrimination'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Pitch discrimination"

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Kenway, Bruno, Yu Chuen Tam, Zebunnisa Vanat, Frances Harris, Roger Gray, John Birchall, Robert Carlyon, and Patrick Axon. "Pitch Discrimination." Otology & Neurotology 36, no. 9 (September 2015): 1472–79. http://dx.doi.org/10.1097/mao.0000000000000845.

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Yost, William A. "Dichotic pitch discrimination." Journal of the Acoustical Society of America 89, no. 4B (April 1991): 1888. http://dx.doi.org/10.1121/1.2029391.

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Faulkner, Andrew. "Pitch discrimination of harmonic complex signals: Residue pitch or multiple component discriminations?" Journal of the Acoustical Society of America 78, no. 6 (December 1985): 1993–2004. http://dx.doi.org/10.1121/1.392656.

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Moore, Robert E., Casie Keaton, and Christopher Watts. "Role of Pitch Memory in Pitch Matching and Pitch Discrimination." ASHA Leader 10, no. 10 (August 2005): 4. http://dx.doi.org/10.1044/leader.ftr1.10102005.4.

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Moore, Robert E., Julie M. Estis, Fawen Zhang, Christopher Watts, and Elizabeth Marble. "Relations of Pitch Matching, Pitch Discrimination, and Otoacoustic Emission Suppression in Individuals Not Formally Trained as Musicians." Perceptual and Motor Skills 104, no. 3 (June 2007): 777–84. http://dx.doi.org/10.2466/pms.104.3.777-784.

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Research has yielded a relationship between pitch matching and pitch discrimination. Good pitch matchers tend to be good pitch discriminators and are often judged to be vocally talented. Otoacoustic emission suppression measures the function of the efferent auditory system which may affect accuracy for pitch matching and pitch discrimination. Formally trained musicians show pitch matching and pitch discrimination superior to those of nonmusicians and have greater efferent otoacoustic emission suppression than nonmusicians. This study investigated the relationship among pitch matching, pitch discrimination, and otoacoustic emission suppression in individuals with no formal musical training and who showed varied pitch matching and pitch discrimination. Analysis suggested a significant relationship between pitch matching and pitch discrimination but not between otoacoustic emission suppression and pitch matching and pitch discrimination. Findings are presented in the context of previous research indicating a significant relationship between otoacoustic emission suppression and musical talent in trained musicians.

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Moore, Robert E., Casie Keaton, and Christopher Watts. "The Role of Pitch Memory in Pitch Discrimination and Pitch Matching." Journal of Voice 21, no. 5 (September 2007): 560–67. http://dx.doi.org/10.1016/j.jvoice.2006.04.004.

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Micheyl, Christophe, Kristin Divis, David M. Wrobleski, and Andrew J. Oxenham. "Does fundamental-frequency discrimination measure virtual pitch discrimination?" Journal of the Acoustical Society of America 128, no. 4 (October 2010): 1930–42. http://dx.doi.org/10.1121/1.3478786.

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Silverman, Daniel. "Pitch discrimination during breathy phonation." Journal of the Acoustical Society of America 100, no. 4 (October 1996): 2825. http://dx.doi.org/10.1121/1.416645.

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Arzounian, Dorothée, and Alain de Cheveigné. "Context effects in pitch discrimination." Journal of the Acoustical Society of America 140, no. 4 (October 2016): 3265. http://dx.doi.org/10.1121/1.4970349.

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Fancourt, Amy, Frederic Dick, and Lauren Stewart. "Pitch-change detection and pitch-direction discrimination in children." Psychomusicology: Music, Mind, and Brain 23, no. 2 (2013): 73–81. http://dx.doi.org/10.1037/a0033301.

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Dissertations / Theses on the topic "Pitch discrimination"

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Payne, Tabitha W. "Working memory capacity and pitch discrimination." Diss., Georgia Institute of Technology, 2003. http://hdl.handle.net/1853/28831.

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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.

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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.

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Descombes, Valerie. "Discrimination of pitch direction, a developmental study." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0032/MQ64141.pdf.

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Ho, Kit-chun, and 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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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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Stanutz, Sandy. "Pitch discrimination and melodic memory in children with autism." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86728.

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Objective: The current research indicates that those with autism have an excellent memory for pitch. Persons with autism have better pitch discrimination and memory for individual notes. The purpose of this study was extend this research in school aged children, comparing pitch discrimination and melodic memory of children with autism to that of typically developing children.
Method: Twenty-five children with autism between the ages of 8-12 and 25 typically developing children within the same age range participated in the study. Children completed pitch discrimination tasks in two differing contexts. In one context, children were asked to indicate whether two pitches were the same or different when the two pitches were either the same or one note of the pair had been altered so that it was 25, 35, or 45-cents sharp or flat. In the other context, children were asked to discriminate whether two melodies were the same or different when the leading tone of each melody was either the same or had been altered so that it was 25, 35, or 45-cents sharp or flat. In addition, children were also asked to recall melodies one week after they were paired with pictures during a familiarization task. All the tasks in the study were formatted on computer.
Results: Children with autism outperformed typically developing children in both pitch discrimination contexts. Children with autism were superior to typically developing children when remembering melodies one week after they had been paired with animal pictures.
Conclusion: Children with autism demonstrated better pitch discrimination and melodic memory than typically developing children. These abilities may be genetic, as the majority of the participants in the study had limited music training. Alternatively, these abilities could be reflective of a different developmental process in the auditory modality of children with autism whereby developmental differences in auditory perceptions may be adaptive in some musical contexts.
Objectif: Les recherches actuelles démontrent que les personnes autistiques discernent mieux la hauteur des sons et ont une meilleure mémoire des sons individuels. La présente étude vise à étendre la recherche aux enfants d'âge scolaire en comparant, chez les enfants autistiques par rapport aux enfants qui se développent normalement, le discernement de la hauteur des sons et la mémoire mélodique.
Méthodologie: Vingt-cinq enfants autistiques ainsi que 25 enfants ayant un développement normal, tous âgés de 8 à 12 ans, ont participé à l'étude. Placés dans deux contextes différents, les enfants ont effectué des tâches faisant appel à leur capacité de discerner la hauteur des sons. Dans le premier contexte, les enfants devaient indiquer si deux sons étaient semblables ou différents lorsque les deux sons étaient les mêmes ou lorsque l'un d'eux avait été modifié pour être plus aigu ou plus bas de 25, 35, ou 45-cents. Dans l'autre contexte, les enfants devaient dire si deux sons mélodies étaient les memes ou si elles étaient différentes lorsque chacune des melodies étaient la mêmes ou si elles étaient différentes lorsque la sensible de chacune des melodies étaient soit la même, soit qu'elle avait été modifiée pour être plus aigue ou plus basse de 25, 35, ou 45-cents. En outre, les enfants devaient aussi se remémorer des mélodies qui, la semaine précédente, avaient été associées à des images d'animaux au cours d'une tâche de familiarsation. Toutes les tâches accomplies par les enfants au cours de l'étude ont été effectuées sur ordinateur.
Résultats: Les enfants autistiques ont mieux réussis que les enfants ayant un développement normal et, cela, dans les deux contextes de discernment de la hauteur des sons. Ils ont aussi été supérieurs lorsqu'il a fallu se remémorer des melodies une semaine après qu'elles eurent été associés à des images d'animaux.
Conclusions: Les enfants autistiques ont démontré que leur jugement de la hauteur des sons et et leur mémoire mélodique étaient meilleurs que ceux des enfants ayant un développement normal. Ces habiletés pourraient être innées étant donné que la majorité des participants á l'étude avaient une formation musicale limitée. Par ailleurs, ces habiletés pourraient être le signe d'un processus développemental different des attributs auditifs des enfants autistiques, ces différences développementales des perceptions auditives pouvent comporter une capacité d'adaptation à certains contextes musicaux.

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MacKenzie, Noah. "The kappa effect in pitch/time context." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1173114654.

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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

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Nikjeh, Dee Adams. "Vocal and instrumental musicians : electrophysiologic and psychoacoustic analysis of pitch discrimination and production." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001728.

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Theaux, Heather M. "Discrimination of Linguistic and Prosodic Information In Infant-Directed Speech by Six-Month-Olds." Thesis, Virginia Tech, 1997. http://hdl.handle.net/10919/36520.

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The purpose of the present study was to tease apart the paralinguistic from the linguistic aspects of infants' perception of infant-directed (ID) speech. Several studies have shown that infants beginning at a few days after birth discriminate native from nonnative speech and can discriminate specific contours (rising, falling, rising-falling) in ID speech. Some studies have also indicated that infants at 4.5 months of age prefer their own name over other names but at 6 months of age, fail to prefer a sentence with their own name embedded in it. Using a discrimination procedure, the current study investigated whether 6-month-old infants could detect a change in contour and/or a change in words when listening to ID utterances. Results indicated that 6-month-old infants detected both a contour and a word change. From these results, it is argued that as has been shown in other exper- iments, infants are extremely sensitive to subtle changes in speech. Furthermore, ID speech appears to facilitate infants' ability to discriminate small changes in ID speech (both linguistic and paralinguistic). It is suggested that future studies investigate more discrete changes in speech samples and a replication of this research with adult-directed (AD) speech.
Master of Science

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Books on the topic "Pitch discrimination"

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Aaron, Jeffrey C. The effects of vocal coordination instruction on the pitch accuracy, range, pitch discrimination, and tonal memory of inaccurate singers. [Iowa City: s.n.], 1990.

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Gantly, Noel T. Cognitive behavior of preschoolers on auditory pitch discrimination tasks: A neo-piagetian investigation. [Ann Arbor: s.n.], 1985.

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Dibble, Cynthia A. Videotape pitch discrimination instruction of five-year-old children from different home musical environments. Ann Arbor, Michigan: University Microfilms International, 1985.

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White, Deborah Jeanne Kitts. The discrimination and categorization of pitch direction by the young child. 1989.

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Ensemble pitch and rhythm error discrimination: The identificaiton and selection of predictors. Vancouver: University of British Columbia, 1990.

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Book chapters on the topic "Pitch discrimination"

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Oxenham, Andrew J., and Christophe Micheyl. "Pitch Perception: Dissociating Frequency from Fundamental-Frequency Discrimination." In Advances in Experimental Medicine and Biology, 137–45. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-1590-9_16.

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Ronquest, Rebecca E., and Manuel Díaz-Campos. "Discriminating Pitch Accent Alignment in Spanish." In Romance Linguistics 2007, 243–60. Amsterdam: John Benjamins Publishing Company, 2009. http://dx.doi.org/10.1075/cilt.304.16ron.

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Moore, Brian C. J. "Pitch perception and frequency discrimination in normally hearing and hearing-impaired people." In Perceptual Consequences of Cochlear Damage, 109–28. Oxford University Press, 1995. http://dx.doi.org/10.1093/acprof:oso/9780198523307.003.0005.

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Haroutounian, Joanne. "The Spark: Underpinnings of Musical Talent." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0017.

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The musical spark that I have discussed in theoretical terms, sought through research, and personally reflected on now requires simple definition. What are the basic underpinnings of musical talent that we can recognize, “kindle,” and develop? If we take away the technical intricacies of musical training, a set of talent criteria emerge that describe how one musically “knows” and the behaviors that develop this musical “knowing.” These musical underpinnings are the ability to be keenly aware of sounds, to inwardly sense and manipulate these sounds, and to communicate them to others through personal interpretation. These are the simple basics, from kindergarten to the Van Cliburn Competition. Take away the technical trappings, and there you have it. This chapter puts ideas gathered from earlier chapters into a simplified musical talent framework that can be used as a cohesive reference for musical talent identification. Each criterion is explained, with talent indicators and procedures to trigger this recognition. The criteria that describe the basic underpinning of musical talent consist of: • Musical awareness and discrimination perceptual awareness of sound rhythmic sense sense of pitch • Creative Interpretation metaperception • Dynamic of performance • Motivation and commitment To support active use of this chapter as a way to recognize musical talent, Sparkler Activities that highlight each talent criterion are offered throughout the chapter. Asterisks (*) indicate key talent behaviors, and there are follow-up activities to expand opportunities for identification. Musical “knowing” begins with the ability to listen. Musical awareness describes the perceptive sensitivity to sounds. Musical discrimination is the sensing of differences in sounds. These inherent sensory capacities are described as music aptitude by music psychologists and music intelligence by cognitive developmental psychologists. The capacity to sense musical components of rhythm, loudness, pitch, and the tonal quality of sounds may be psychometrically measured through the administration of a music aptitude test. These capacities can also be assessed through activities that focus on aural perception, rhythmic movement, and tonal memory of melodies or songs. Musical awareness and discrimination consists of three basic sensory components—the perceptual awareness of sound, a rhythmic sense, and a sense of pitch.

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"Task difficulty influencing lateralization during pitch and duration discrimination in human subjects: an fMRI study." In Wachstum und Alter – Von den Chancen und Lasten des Lebenszyklus, edited by Hubert E. Blum, Johannes Dichgans, and Walter Kaminsky. Stuttgart: Georg Thieme Verlag, 2006. http://dx.doi.org/10.1055/b-0034-15296.

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Schulkin, Jay. "Development, Music, and Social Contact." In Reflections on the Musical Mind. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691157443.003.0007.

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This chapter examines normal neonatal orientation to sounds as well as developmental disorders that affect musical sensibility, including Williams syndrome, a form of hypersocial expression coupled with a liking for music. It first explains how a sense of music begins very early in infancy, noting that the discrimination of pitch and other perceptual capabilities are expressed within the first year of life, events believed to be fundamentally linked to social capabilities. It is the social world, gaining a foothold in the life of others, which makes this knowledge essential. Rhythmic engagement also begins in infancy, generating movement. This musical expression is linked to affective needs and diverse forms of social contact. The chapter proceeds by discussing hypersocial and hyposocial behaviors among individuals with Williams syndrome, along with the evolution of social behavior that underlies musical expression. Finally, it considers epigenetic events and lifelong learning changes in relation to music.

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Haroutounian, Joanne. "Talent as Music Aptitude." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0008.

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Several years ago, my husband called me into his studio as he was practicing for an upcoming solo violin concerto performance with the National Symphony. As I entered the room, I noticed three bows lying on the floor. Without a word, he motioned for me to be seated on the sofa. He picked up the first bow and began to play a passage of the music. He set this bow on the floor, picked up the second, and played the same passage. He repeated this process with the last bow. When he finished, he paused and looked at me. I motioned to the middle bow. He nodded in agreement. This was the bow he would use for the performance. Musicians communicate through sound. The wordless exchange of musical ideas described here exemplifies the fine-tuned discrimination of sound that is at the heart of music aptitude. While listening to the repeated musical passage, my husband and I were both aware of the subtle qualities of sound that each bow produced as it was drawn across the strings of the violin. The first had a gutsy, robust sound; the second a melancholy, sweet quality; the third a square cleanliness. We listened, interpretively reflected on these qualities, and decided that melancholy sweetness would best match the mood of the Armenian folk tunes within the solo concerto. Words were not necessary. Obviously, this level of musical communication is quite sophisticated. It relies on years of musical training, listening, and interpretive understanding. However, if you layer away the training and skills, we arrive at the underlying discrimination of differences in sound. The discrimination of sound, prior to any formal training, is where music aptitude begins. Music exists through sound. Sound develops into music through combinations of rhythm, loudness, pitch, and the different qualities of these sounds. Music psychologists define the capacity to sense these musical components as music aptitude. The more discriminately one senses subtle differences in these components, the higher one’s music aptitude. Music aptitude combines inherent musical capacities with listening skills that may develop without formal training or education.

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"Figure 4 Instrument discrimination and pitch interval identification performance as a function of stimulus duration (Experiment II). TN and CF are musically untrained listeners, NR and KR musically trained listeners." In Music and the Cognitive Sciences 1990, 105. Routledge, 2004. http://dx.doi.org/10.4324/9780203393284-35.

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Haroutounian, Joanne. "Reflections." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0013.

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The Grand Canyon scene from chapter one seems a distant memory now that we have examined the perspectives of musical talent from experts across different fields. A synthesis of the ideas gleaned from these opening chapters can be embodied once again in that scene and those four friends. The scientific examiner searches beneath the surface for answers. He analyzes the inner core, piece by piece. The psychometricians who systematically refine the measurement of the capacities of music aptitude believe in analyzing the sensory core of musical talent. From this scientific perspective, we learn that the talented musician listens carefully and can discriminate differences in sound. Music aptitude describes the basic capacities that provide this keen discrimination. A musically talented person is fine-tuned in awareness and differentiation of pitch, rhythm, dynamics, and timbre. Our environmental observer searches for answers revealed in surrounding influences and changes over the course of time. She is more concerned with examining how the ongoing flux and flow transforms the whole. The developmental psychologists who examine music intelligence agree that music aptitude is the sensory base of musical talent. However, there is much more to consider and explore. How do these sensory capacities function while engaged in real musical tasks? What tasks can instill metaperceptive functioning as the child develops? From the perspective of the cognitive developmental psychologist, we learn that musical intelligence is a perceptive/cognitive unique way of knowing. The musically talented student develops musical intelligence by solving challenging musical problems that inventively work across the dimensions of performance, composing, improvisation, listening, and critiquing musical work. Our photographer captures the scene through an artistic eye, ever searching for a personal way to interpret this experience to others through his art form. Many hours are spent in the darkroom working through this creative process. With persistence, time, and focus, that personal visual statement will emerge. The performer realizes musical talent through the same artistic process, with the same persistence, focus, and hours of practice.

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Conference papers on the topic "Pitch discrimination"

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Lin, Fanrui, Zhijun Zhao, Mengya Peng, and Lingyun Xie. "Effect of color on pitch discrimination of pure tone." In 2016 9th International Congress on Image and Signal Processing, BioMedical Engineering and Informatics (CISP-BMEI). IEEE, 2016. http://dx.doi.org/10.1109/cisp-bmei.2016.7852868.

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Gilbert, Rachael C., and Chang Liu. "Thresholds of tone pitch contour discrimination for English listeners." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4799644.

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Sayegh, Samir I., Carlos A. Pomalaza-Raez, E. Tepper, and B. A. Beer. "Timbre discrimination of signals with identical pitch using neural networks." In San Diego, '91, San Diego, CA, edited by Su-Shing Chen. SPIE, 1991. http://dx.doi.org/10.1117/12.48370.

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Leon, Phillip L. De, Bryan Stewart, and Junichi Yamagishi. "Synthetic speech discrimination using pitch pattern statistics derived from image analysis." In Interspeech 2012. ISCA: ISCA, 2012. http://dx.doi.org/10.21437/interspeech.2012-135.

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Grondin, Francois, and Francois Michaud. "Robust speech/non-speech discrimination based on pitch estimation for mobile robots." In 2016 IEEE International Conference on Robotics and Automation (ICRA). IEEE, 2016. http://dx.doi.org/10.1109/icra.2016.7487306.

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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.

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Aalto, Daniel, Juraj Šimko, and Martti Vainio. "Language background affects the strength of the pitch bias in a duration discrimination task." In Interspeech 2013. ISCA: ISCA, 2013. http://dx.doi.org/10.21437/interspeech.2013-76.

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Altindal, R., T. Rahne, L. Wagner, and S. Plontke. "Influence of the frequency-to-electrode mapping on the pitch discrimination in Cochlear Implant users." In Abstract- und Posterband – 89. Jahresversammlung der Deutschen Gesellschaft für HNO-Heilkunde, Kopf- und Hals-Chirurgie e.V., Bonn – Forschung heute – Zukunft morgen. Georg Thieme Verlag KG, 2018. http://dx.doi.org/10.1055/s-0038-1640232.

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Ping, Lichuan, Meng Yuan, Qinglin Meng, and Haihong Feng. "Temporal envelope and periodicity cues on musical pitch discrimination with acoustic simulation of cochlear implant." In 2010 International Conference on Audio, Language and Image Processing (ICALIP). IEEE, 2010. http://dx.doi.org/10.1109/icalip.2010.5685065.

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Kalathottukaren, Rose Thomas, Suzanne C. Purdy, and Elaine Ballard. "Prosody perception, reading accuracy, nonliteral language comprehension, and music and tonal pitch discrimination in school aged children." In Interspeech 2014. ISCA: ISCA, 2014. http://dx.doi.org/10.21437/interspeech.2014-134.

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