Perceived pitch class of isolated musical triads

Ear Advantage for Musical Location and Relative Pitch: Effects of Musical Training and Attention

Trained musicians have been found to exhibit a right-ear advantage for high tones and a left-ear advantage for low tones. We investigated whether this right/high, left/low pattern of musical processing advantage exists in listeners who had varying levels of musical experience, and whether such a pattern might be modulated by attentional strategy. A dichotic listening paradigm was used in which different melodic sequences were presented to each ear, and listeners attended to (a) the left ear or the right ear or (b) the higher pitched tones or the lower pitched tones. Listeners judged whether tone-to-tone transitions within each melodic sequence moved upward or downward in pitch. Only musically experienced listeners could adequately judge the direction of successive pitch transitions when attending to a specific ear; however, all listeners could judge the direction of successive pitch transitions within a high-tone stream or a low-tone stream. Overall, listeners exhibited greater accuracy when attending to relatively higher pitches, but there was no evidence to support a right/high, left/low bias. Results were consistent with effects of attentional strategy rather than an ear advantage for high or low tones. Implications for a potential performer/audience paradox in listening space are considered.

Pitch and plasticity: insights from the pitch matching of chords by musicians with absolute and relative pitch

Absolute pitch (AP) is a form of sound recognition in which musical note names are associated with discrete musical pitch categories. The accuracy of pitch matching by non-AP musicians for chords has recently been shown to depend on stimulus familiarity, pointing to a role of spectral recognition mechanisms in the early stages of pitch processing. Here we show that pitch matching accuracy by AP musicians was also dependent on their familiarity with the chord stimulus. This suggests that the pitch matching abilities of both AP and non-AP musicians for concurrently presented pitches are dependent on initial recognition of the chord. The dual mechanism model of pitch perception previously proposed by the authors suggests that spectral processing associated with sound recognition primes waveform processing to extract stimulus periodicity and refine pitch perception. The findings presented in this paper are consistent with the dual mechanism model of pitch, and in the case of AP musicians, the formation of nominal pitch categories based on both spectral and periodicity information.

Simultaneous pitches are encoded separately in auditory cortex: an MMNm study

This study examined whether two simultaneous pitches have separate memory representations or an integrated representation in preattentive auditory memory. Mismatch negativity fields were examined when a pitch change occurred in either the higher-pitched or the lower-pitched tone at 25% probability each, thus making the total deviation rate of the two-tone dyad 50%. Clear MMNm was obtained for deviants in both tones confirming separate memory traces for concurrent tones. At the same time, deviants to the lower-pitched, but not higher-pitched, tone within the two-tone dyad elicited a reduced MMNm compared to when each tone was presented alone, indicating that the representations of two pitches are not completely independent.

Harmonic, melodic, and frequency height influences in the perception of multivoiced music

Two experiments addressed the influences of harmonic relations, melody location, and relative frequency height on the perceptual organization of multivoiced music. In Experiment 1, listeners detected pitch changes in multivoiced piano music. Harmonically related pitch changes and those in the middle-frequency range were least noticeable. All pitch changes were noticeable in the high-frequency voice containing the melody (the most important voice), suggesting that melody can dominate harmonic relations. However, the presence of upper partials in the piano timbre used may have accounted for the harmonic effects. Experiment 2 employed pure sine tones, and replicated the effects of Experiment 1. In addition, the influence of the high-frequency melody on the noticeability of harmonically related pitches was lessened by the presence of a second melody. These findings suggest that harmonic, melodic, and relative frequency height relationships among voices interact in the perceptual organization of multivoiced music.