Absolute pitch among students in an American music conservatory: association with tone language fluency

Should absolute pitch be considered as a unique kind of absolute sensory judgment in humans? A systematic and theoretical review of the literature

Absolute pitch is the name given to the rare ability to identify a musical note in an automatic and effortless manner without the need for a reference tone. Those individuals with absolute pitch can, for example, name the note they hear, identify all of the tones of a given chord, and/or name the pitches of everyday sounds, such as car horns or sirens. Hence, absolute pitch can be seen as providing a rare example of absolute sensory judgment in audition. Surprisingly, however, the intriguing question of whether such an ability presents unique features in the domain of sensory perception, or whether instead similar perceptual skills also exist in other sensory domains, has not been explicitly addressed previously. In this paper, this question is addressed by systematically reviewing research on absolute pitch using the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) method. Thereafter, we compare absolute pitch with two rare types of sensory experience, namely synaesthesia and eidetic memory, to understand if and how these phenomena exhibit similar features to absolute pitch. Furthermore, a common absolute perceptual ability that has been often compared to absolute pitch, namely colour perception, is also discussed. Arguments are provided supporting the notion that none of the examined abilities can be considered like absolute pitch. Therefore, we conclude by suggesting that absolute pitch does indeed appear to constitute a unique kind of absolute sensory judgment in humans, and we discuss some open issues and novel directions for future research in absolute pitch.

The more the better? Effects of L1 tonal density and typology on the perception of non-native tones

This study investigates the effects of L1 tonal density and typology on naïve listeners' perception of L2 Cantonese tones and pitch-equivalent pure tones. Native speakers of two canonical tone languages (Vietnamese and Mandarin) and a pitch-accent language (Japanese) with varying degrees of tonal density were recruited as listeners in a discrimination task followed by a perceptual assimilation task. Results implied that Mandarin listeners with a sparser tone inventory exhibited significantly better performance than Vietnamese listeners, suggesting that denser tonality in L1 did not facilitate or even interfere with L2 tone perception. Furthermore, both groups of canonical tone listeners processed pitch contours in a domain-general manner, with comparable performance in the perception of lexical tones and pure tones. However, Japanese listeners of the pitch-accent language perceived pure tones better than lexical tones, showing a domain-specific mechanism. These findings suggest that both L1 tonal density and typology may modulate the perception of non-native tones.

The effect of tone language background on cue integration in pitch perception

This study explores the effect of native language and musicality on voice quality cue integration in pitch perception. Previous work by Cui and Kang [(2019). J. Acoust. Soc. Am. 146(6), 4086-4096] found no differences in pitch perception strategies between English and Mandarin speakers. The present study asks whether Cantonese listeners may perform differently, as Cantonese consists of multiple level tones. Participants completed two experiments: (i) a forced choice pitch classification experiment involving four spectral slope permutations that vary in fo across an 11 step continuum, and (ii) the MBEMA test that quantifies listeners' musicality. Results show that Cantonese speakers do not differ from English and Mandarin speakers in terms of overall categoricity and perceptual shift, that Cantonese speakers do not have advantages in musicality, and that musicality is a significant predictor for participants' pitch perception strategies. Listeners with higher musicality scores tend to rely more on fo cues than voice quality cues compared to listeners with lower musicality. These findings support the notion that voice quality integration in pitch perception is not language specific, and may be a universal psychoacoustic phenomenon at a non-lexical level.

The human language system, including its inferior frontal component in "Broca's area," does not support music perception

Language and music are two human-unique capacities whose relationship remains debated. Some have argued for overlap in processing mechanisms, especially for structure processing. Such claims often concern the inferior frontal component of the language system located within "Broca's area." However, others have failed to find overlap. Using a robust individual-subject fMRI approach, we examined the responses of language brain regions to music stimuli, and probed the musical abilities of individuals with severe aphasia. Across 4 experiments, we obtained a clear answer: music perception does not engage the language system, and judgments about music structure are possible even in the presence of severe damage to the language network. In particular, the language regions' responses to music are generally low, often below the fixation baseline, and never exceed responses elicited by nonmusic auditory conditions, like animal sounds. Furthermore, the language regions are not sensitive to music structure: they show low responses to both intact and structure-scrambled music, and to melodies with vs. without structural violations. Finally, in line with past patient investigations, individuals with aphasia, who cannot judge sentence grammaticality, perform well on melody well-formedness judgments. Thus, the mechanisms that process structure in language do not appear to process music, including music syntax.

Generalizing across tonal context, timbre, and octave in rapid absolute pitch training

Absolute pitch (AP) is the rare ability to name any musical note without the use of a reference note. Given that genuine AP representations are based on the identification of isolated notes by their tone chroma, they are considered to be invariant to (1) surrounding tonal context, (2) changes in instrumental timbre, and (3) changes in octave register. However, there is considerable variability in the literature in terms of how AP is trained and tested along these dimensions, making recent claims about AP learning difficult to assess. Here, we examined the effect of tonal context on participant success with a single-note identification training paradigm, including how learning generalized to an untested instrument and octave. We found that participants were able to rapidly learn to distinguish C from other notes, with and without feedback and regardless of the tonal context in which C was presented. Participants were also able to partly generalize this skill to an untrained instrument. However, participants displayed the weakest generalization in recognizing C in a higher octave. The results indicate that participants were likely attending to pitch height in addition to pitch chroma - a conjecture that was supported by analyzing the pattern of response errors. These findings highlight the complex nature of note representation in AP, which requires note identification across contexts, going beyond the simple storage of a note fundamental. The importance of standardizing testing that spans both timbre and octave in assessing AP and further implications on past literature and future work are discussed.

An early perceptual locus of absolute pitch

Absolute pitch (AP) refers to the naming of musical tone without external reference. The influential two-component model states that AP is limited by the late-emerging pitch labeling process only and not the earlier perceptual and memory processes. Over the years, however, support for this model at the neural level has been mixed with various methodological limitations. Here, the electroencephalography responses of 27 AP possessors and 27 non-AP possessors were recorded. During both name verification and passive listening, event-related potential analyses showed a difference between AP and non-AP possessors at about 200 ms in their response toward tones compared with noise stimuli. Multivariate pattern analyses suggested that pitch naming was subserved by a series of transient processes for the first 250 ms, followed by a stage-like process for both AP and non-AP possessors with no group differences between them. These findings are inconsistent with the predictions of the two-component model, and instead suggest the existence of an early perceptual locus of AP.

Auditory temporal resolution and backward masking in musicians with absolute pitch

Among the many questions regarding the ability to effortlessly name musical notes without a reference, also known as absolute pitch, the neural processes by which this phenomenon operates are still a matter of debate. Although a perceptual subprocess is currently accepted by the literature, the participation of some aspects of auditory processing still needs to be determined. We conducted two experiments to investigate the relationship between absolute pitch and two aspects of auditory temporal processing, namely temporal resolution and backward masking. In the first experiment, musicians were organized into two groups according to the presence of absolute pitch, as determined by a pitch identification test, and compared regarding their performance in the Gaps-in-Noise test, a gap detection task for assessing temporal resolution. Despite the lack of statistically significant difference between the groups, the Gaps-in-Noise test measures were significant predictors of the measures for pitch naming precision, even after controlling for possible confounding variables. In the second experiment, another two groups of musicians with and without absolute pitch were submitted to the backward masking test, with no difference between the groups and no correlation between backward masking and absolute pitch measures. The results from both experiments suggest that only part of temporal processing is involved in absolute pitch, indicating that not all aspects of auditory perception are related to the perceptual subprocess. Possible explanations for these findings include the notable overlap of brain areas involved in both temporal resolution and absolute pitch, which is not present in the case of backward masking, and the relevance of temporal resolution to analyze the temporal fine structure of sound in pitch perception.

Use of explicit priming to phenotype absolute pitch ability

Musicians with absolute pitch (AP) can name the pitch of a musical note in isolation. Expression of this unusual ability is thought to be influenced by heritability, early music training and current practice. However, our understanding of factors shaping its expression is hampered by testing and scoring methods that treat AP as dichotomous. These fail to capture the observed variability in pitch-naming accuracy among reported AP possessors. The aim of this study was to trial a novel explicit priming paradigm to explore phenotypic variability of AP. Thirty-five musically experienced individuals (M_age = 29 years, range 18–68; 14 males) with varying AP ability completed a standard AP task and the explicit priming AP task. Results showed: 1) phenotypic variability of AP ability, including high-accuracy AP, heterogeneous intermediate performers, and chance-level performers; 2) intermediate performance profiles that were either reliant on or independent of relative pitch strategies, as identified by the priming task; and 3) the emergence of a bimodal distribution of AP performance when adopting scoring criteria that assign credit to semitone errors. These findings show the importance of methods in studying behavioural traits, and are a key step towards identifying AP phenotypes. Replication of our results in larger samples will further establish the usefulness of this priming paradigm in AP research.

Investigating the Relationship Between Childhood Music Practice and Pitch-Naming Ability in Professional Musicians and a Population-Based Twin Sample

The relationship between pitch-naming ability and childhood onset of music training is well established and thought to reflect both genetic predisposition and music training during a critical period. However, the importance of the amount of practice during this period has not been investigated. In a population sample of twins (N = 1447, 39% male, 367 complete twin pairs) and a sample of 290 professional musicians (51% male), we investigated the role of genes, age of onset of playing music and accumulated childhood practice on pitch-naming ability. A significant correlation between pitch-naming scores for monozygotic (r = .27, p < .001) but not dizygotic twin pairs (r = -.04, p = .63) supported the role of genetic factors. In professional musicians, the amount of practice accumulated between ages 6 and 11 predicted pitch-naming accuracy (p = .025). In twins, age of onset was no longer a significant predictor once practice was considered. Combined, these findings are in line with the notion that pitch-naming ability is associated with both genetic factors and amount of early practice, rather than just age of onset per se. This may reflect a dose-response relation between practice and pitch-naming ability in genetically predisposed individuals. Alternatively, children who excel at pitch-naming may have an increased tendency to practice.

Experiential and Cognitive Predictors of Sight-Singing Performance in Music Higher Education

Sight-singing is prevalent in aural skill classes, where learners differ in experience and cognitive abilities. In this research, we investigated whether musical experience, level of study, and working memory capacity (WMC) can predict sight-singing performance and if there is a correlation between WMC and performance among some subgroups of participants. We hypothesized that more experienced students and those with a higher WMC might sight-sing better than those with less experience and lesser WMC. We also hypothesized that the relationship between WMC and sight-singing performance would be more salient for less experienced and less proficient sight-singers. We surveyed 56 subjects about their experience with music, assessed their WMC, and evaluated their performance on a short sight-singing task. The results showed that the age when students began learning music could predict sight-singing performance independently from the number of years of experience and the educational level, suggesting a possible developmental component to sight-singing skill. We also found a negative relationship between WMC and pitch score in the low-performing group and between rhythm and pitch score, suggesting that pitch and rhythm are processed differently. Teachers should be aware of how students' backgrounds might be related to performance and encourage them to develop strong automated skills, such as reading music or singing basic tonal patterns.

Pitch chroma information is processed in addition to pitch height information with more than two pitch-range categories

Octave equivalence describes the perception that notes separated by a doubling in frequency sound similar. While the octave is used cross-culturally as a basis of pitch perception, experimental demonstration of the phenomenon has proved to be difficult. In past work, members of our group developed a three-range generalization paradigm that reliably demonstrated octave equivalence. In this study we replicate and expand on this previous work trying to answer three questions that help us understand the origins and potential cross-cultural significance of octave equivalence: (1) whether training with three ranges is strictly necessary or whether an easier-to-learn two-range task would be sufficient, (2) whether the task could demonstrate octave equivalence beyond neighbouring octaves, and (3) whether language skills and musical education impact the use of octave equivalence in this task. We conducted a large-sample study using variations of the original paradigm to answer these questions. Results found here suggest that the three-range discrimination task is indeed vital to demonstrating octave equivalence. In a two-range task, pitch height appears to be dominant over octave equivalence. Octave equivalence has an effect only when pitch height alone is not sufficient. Results also suggest that effects of octave equivalence are strongest between neighbouring octaves, and that tonal language and musical training have a positive effect on learning of discriminations but not on perception of octave equivalence during testing. We discuss these results considering their relevance to future research and to ongoing debates about the basis of octave equivalence perception.

Categorical Perception of Mandarin Pitch Directions by Cantonese-Speaking Musicians and Non-musicians

Purpose: This study is to investigate whether Cantonese-speaking musicians may show stronger CP than Cantonese-speaking non-musicians in perceiving pitch directions generated based on Mandarin tones. It also aims to examine whether musicians may be more effective in processing stimuli and more sensitive to subtle differences caused by vowel quality.

Methods: Cantonese-speaking musicians and non-musicians performed a categorical identification and a discrimination task on rising and falling continua of fundamental frequency generated based on Mandarin level, rising and falling tones on two vowels with nine duration values.

Results: Cantonese-speaking musicians exhibited a stronger categorical perception (CP) of pitch contours than non-musicians based on the identification and discrimination tasks. Compared to non-musicians, musicians were also more sensitive to the change of stimulus duration and to the intrinsic F₀ in pitch perception in pitch processing.

Conclusion: The CP was strengthened due to musical experience and musicians benefited more from increased stimulus duration and were more efficient in pitch processing. Musicians might be able to better use the extra time to form an auditory representation with more acoustic details. Even with more efficiency in pitch processing, musicians' ability to detect subtle pitch changes caused by intrinsic F₀ was not undermined, which is likely due to their superior ability to process temporal information. These results thus suggest musicians may have a great advantage in learning tones of a second language.

Perceiving Music Through the Lens of Synaesthesia and Absolute Pitch

Synaesthesia and absolute pitch (AP) are two rare conditions that occur more frequently within populations of artistic professionals. Current thinking surrounding synaesthesia and AP and their relationship to music perception form the focus of this article. Given that synaesthesia has rarely been discussed in the music literature, the article surveys and consolidates general neurobiological, psychological, and behavioural evidence to summarise what is currently known on this topic, in order to link this back to the conditions that most relate to music. In contrast, research on AP is now well established in the music literature, but the important gap of linking AP to other conditions such as synaesthesia has yet to be fully explored. This article investigates the potential relationship between synaesthesia and AP for musicians who possess both conditions by systematically comparing the definitions, classifications, prevalence, diagnoses, and impacts on music perception of synaesthesia and AP and provides insights into the varying states of the literature and knowledge of both conditions. In so doing, this article aims to facilitate a greater understanding of music and auditory forms of synaesthesia and their interaction with AP and encourage increased research effort on this important topic.

Word learning dogs (Canis familiaris) provide an animal model for studying exceptional performance

Exceptional performance is present in various human activities but its origins are debated and challenging to study. We report evidence of exceptional performance and qualitative variation in learning object-names in dogs. 34 naïve family dogs and 6 knowledgeable individuals that knew multiple toy names, found in 2 years of search around the Globe, were exposed to 3 months of training to learn two novel toy-names and were tested in two-way choice tests. Only 1 naïve and all 6 knowledgeable dogs passed the tests. Additionally, only these dogs learned at least 10 new toy names over the 3 months, showing qualitative variation in this capacity. Although previous object-name knowledge could provide an explanation for the superior performance of the knowledgeable dogs, their rarity and the absence of previous training of this skill point to exceptional giftedness in these individuals, providing the basis to establish dogs as a model-species for studying talent.

Absolute pitch is disrupted by a memory illusion

An experiment is reported, showing that short-term memory for pitch in absolute pitch (AP) possessors, while substantially more accurate than in AP nonpossessors, is also subject to illusory conjunctions of pitch and time and so can be distorted or enhanced by a single tone embedded in a sequence of six other tones. Both AP possessors and AP nonpossessors performed a short-term memory task. A test tone was presented, then a sequence of six intervening tones, and then a probe tone. The test and probe tones either were identical in pitch or differed by a semitone. The AP nonpossessors judged whether the test and probe tones were the same or different, and the AP possessors identified the test and probe tones by name. In some conditions, a tone of identical pitch to the probe tone or an octave removed from this tone was included in the intervening sequence. In both the AP possessors and AP nonpossessors, this illusion-producing tone increased judgments that the test and probe tones were identical. These results accord with a model of the system underlying short-term memory for pitch proposed earlier and show that this system is bidimensional in nature, involving both pitch height and pitch class.

Combination of absolute pitch and tone language experience enhances lexical tone perception

Absolute pitch (AP), a unique ability to name or produce pitch without any reference, is known to be influenced by genetic and cultural factors. AP and tone language experience are both known to promote lexical tone perception. However, the effects of the combination of AP and tone language experience on lexical tone perception are currently not known. In the current study, using behavioral (Categorical Perception) and electrophysiological (Frequency Following Response) measures, we investigated the effect of the combination of AP and tone language experience on lexical tone perception. We found that the Cantonese speakers with AP outperformed the Cantonese speakers without AP on Categorical Perception and Frequency Following Responses of lexical tones, suggesting an additive effect due to the combination of AP and tone language experience. These findings suggest a role of basic sensory pre-attentive auditory processes towards pitch encoding in AP. Further, these findings imply a common mechanism underlying pitch encoding in AP and tone language perception.

Revisiting discrete versus continuous models of human behavior: The case of absolute pitch

Many human behaviors are discussed in terms of discrete categories. Quantizing behavior in this fashion may provide important traction for understanding the complexities of human experience, but it also may bias understanding of phenomena and associated mechanisms. One example of this is absolute pitch (AP), which is often treated as a discrete trait that is either present or absent (i.e., with easily identifiable near-perfect "genuine" AP possessors and at-chance non-AP possessors) despite emerging evidence that pitch-labeling ability is not all-or-nothing. We used a large-scale online assessment to test the discrete model of AP, specifically by measuring how intermediate performers related to the typically defined "non-AP" and "genuine AP" populations. Consistent with prior research, individuals who performed at-chance (non-AP) reported beginning musical instruction much later than the near-perfect AP participants, and the highest performers were more likely to speak a tonal language than were the lowest performers (though this effect was not as statistically robust as one would expect from prior research). Critically, however, these developmental factors did not differentiate the near-perfect AP performers from the intermediate AP performers. Gaussian mixture modeling supported the existence of two performance distributions-the first distribution encompassed both the intermediate and near-perfect AP possessors, whereas the second distribution encompassed only the at-chance participants. Overall, these results provide support for conceptualizing intermediate levels of pitch-labeling ability along the same continuum as genuine AP-level pitch labeling ability-in other words, a continuous distribution of AP skill among all above-chance performers rather than discrete categories of ability. Expanding the inclusion criteria for AP makes it possible to test hypotheses about the mechanisms that underlie this ability and relate this ability to more general cognitive mechanisms involved in other abilities.

The Influence of Tonal and Atonal Bilingualism on Children's Lexical and Non-Lexical Tone Perception

This study examined how bilingualism in an atonal language, in addition to a tonal language, influences lexical and non-lexical tone perception and word learning during childhood. Forty children aged 5;3-7;2, bilingual either in English and Mandarin or English and another atonal language, were tested on Mandarin lexical tone discrimination, level-pitch sine-wave tone discrimination, and learning of novel words differing minimally in Mandarin lexical tone. Mandarin-English bilingual children discriminated between and learned novel words differing minimally in Mandarin lexical tone more accurately than their atonal-English bilingual peers. However, Mandarin-English and atonal-English bilingual children discriminated between level-pitch sine-wave tones with similar accuracy. Moreover, atonal-English bilingual children showed a tendency to perceive differing Mandarin lexical and level-pitch sine-wave tones as identical, whereas their Mandarin-English peers showed no such tendency. These results indicate that bilingualism in a tonal language in addition to an atonal language-but not bilingualism in two atonal languages-allows for continued sensitivity to lexical tone beyond infancy. Moreover, they suggest that although tonal-atonal bilingualism does not enhance sensitivity to differences in pitch between sine-wave tones beyond infancy any more effectively than atonal-atonal bilingualism, it protects against the development of biases to perceive differing lexical and non-lexical tones as identical. Together, the results indicate that, beyond infancy, tonal-atonal bilinguals process lexical tones using different cognitive mechanisms than atonal-atonal bilinguals, but that both groups process level-pitch non-lexical tone using the same cognitive mechanisms.

The effects of musicality and language background on cue integration in pitch perception

Pitch perception involves the processing of multidimensional acoustic cues, and listeners can exhibit different cue integration strategies in interpreting pitch. This study aims to examine whether musicality and language experience have effects on listeners' pitch perception strategies. Both Mandarin and English listeners were recruited to participate in two experiments: (1) a pitch classification experiment that tested their relative reliance on f0 and spectral cues, and (2) the Montreal Battery of Evaluation of Musical Abilities that objectively quantified their musical aptitude as continuous musicality scores. Overall, the results show a strong musicality effect: Listeners with higher musicality scores relied more on f0 in pitch perception, while listeners with lower musicality scores were more likely to attend to spectral cues. However, there were no effects of language experience on musicality scores or cue integration strategies in pitch perception. These results suggest that less musical or even amusic subjects may not suffer impairment in linguistic pitch processing due to the multidimensional nature of pitch cues.

Is it impossible to acquire absolute pitch in adulthood?

Absolute pitch (AP) refers to the rare ability to name the pitch of a tone without external reference. It is widely believed to be only for the selected few with rare genetic makeup and early musical training during the critical period, and therefore acquiring AP in adulthood is impossible. Previous studies have not offered a strong test of the effect of training because of issues like small sample size and insufficient training. In three experiments, adults learned to name pitches in a computerized, gamified and personalized training protocol for 12 to 40 hours, with the number of pitches gradually increased from three to twelve. Across the three experiments, the training covered different octaves, timbre, and training environment (inside or outside laboratory). AP learning showed classic characteristics of perceptual learning, including generalization of learning dependent on the training stimuli, and sustained improvement for at least one to three months. 14% of the participants (6 out of 43) were able to name twelve pitches at 90% or above accuracy, comparable to that of 'AP possessors' as defined in the literature. Overall, AP continues to be learnable in adulthood, which challenges the view that AP development requires both rare genetic predisposition and learning within the critical period. The finding calls for reconsideration of the role of learning in the occurrence of AP, and pushes the field to pinpoint and explain the differences, if any, between the aspects of AP more trainable in adulthood and the aspects of AP that are potentially exclusive for the few exceptional AP possessors observed in the real world.

Absolute pitch can be learned by some adults

Absolute pitch (AP), the rare ability to name any musical note without the aid of a reference note, is thought to depend on an early critical period of development. Although recent research has shown that adults can improve AP performance in a single training session, the best learners still did not achieve note classification levels comparable to performance of a typical, "genuine" AP possessor. Here, we demonstrate that these "genuine" levels of AP performance can be achieved within eight weeks of training for at least some adults, with the best learner passing all measures of AP ability after training and retaining this knowledge for at least four months after training. Alternative explanations of these positive results, such as improving accuracy through adopting a slower, relative pitch strategy, are not supported based on joint analyses of response time and accuracy. The results also did not appear to be driven by extreme familiarity with a single instrument or octave range, as the post-training AP assessments used eight different timbres and spanned over seven octaves. Yet, it is also important to note that a majority of the participants only exhibited modest improvements in performance, suggesting that adult AP learning is difficult and that near-perfect levels of AP may only be achievable by subset of adults. Overall, these results demonstrate that explicit perceptual training in some adults can lead to AP performance that is behaviorally indistinguishable from AP that manifests within a critical period of development. Implications for theories of AP acquisition are discussed.

Enhanced auditory disembedding in an interleaved melody recognition test is associated with absolute pitch ability

Absolute pitch (AP) and autism have recently been associated with each other. Neurocognitive theories of autism could perhaps explain this co-occurrence. This study investigates whether AP musicians show an advantage in an interleaved melody recognition task (IMRT), an auditory version of an embedded figures test often investigated in autism with respect to the these theories. A total of N = 59 professional musicians (AP = 27) participated in the study. In each trial a probe melody was followed by an interleaved sequence. Participants had to indicate as to whether the probe melody was present in the interleaved sequence. Sensitivity index d′ and response bias c were calculated according to signal detection theory. Additionally, a pitch adjustment test measuring fine-graded differences in absolute pitch proficiency, the Autism-Spectrum-Quotient and a visual embedded figures test were conducted. AP outperformed relative pitch (RP) possessors on the overall IMRT and the fully interleaved condition. AP proficiency, visual disembedding and musicality predicted 39.2% of variance in the IMRT. No correlations were found between IMRT and autistic traits. Results are in line with a detailed-oriented cognitive style and enhanced perceptional functioning of AP musicians similar to that observed in autism.

Autistic traits, resting-state connectivity, and absolute pitch in professional musicians: shared and distinct neural features

Background

Recent studies indicate increased autistic traits in musicians with absolute pitch and a higher proportion of absolute pitch in people with autism. Theoretical accounts connect both of these with shared neural principles of local hyper- and global hypoconnectivity, enhanced perceptual functioning, and a detail-focused cognitive style. This is the first study to investigate absolute pitch proficiency, autistic traits, and brain correlates in the same study.

Sample and methods

Graph theoretical analysis was conducted on resting-state (eyes closed and eyes open) EEG connectivity (wPLI, weighted phase lag index) matrices obtained from 31 absolute pitch (AP) and 33 relative pitch (RP) professional musicians. Small-worldness, global clustering coefficient, and average path length were related to autistic traits, passive (tone identification) and active (pitch adjustment) absolute pitch proficiency, and onset of musical training using Welch two-sample tests, correlations, and general linear models.

Results

Analyses revealed increased path length (delta 2–4 Hz), reduced clustering (beta 13–18 Hz), reduced small-worldness (gamma 30–60 Hz), and increased autistic traits for AP compared to RP. Only clustering values (beta 13–18 Hz) were predicted by both AP proficiency and autistic traits. Post hoc single connection permutation tests among raw wPLI matrices in the beta band (13–18 Hz) revealed widely reduced interhemispheric connectivity between bilateral auditory-related electrode positions along with higher connectivity between F7–F8 and F8–P9 for AP. Pitch-naming ability and pitch adjustment ability were predicted by path length, clustering, autistic traits, and onset of musical training (for pitch adjustment) explaining 44% and 38% of variance, respectively.

Conclusions

Results show both shared and distinct neural features between AP and autistic traits. Differences in the beta range were associated with higher autistic traits in the same population. In general, AP musicians exhibit a widely underconnected brain with reduced functional integration and reduced small-world property during resting state. This might be partly related to autism-specific brain connectivity, while differences in path length and small-worldness reflect other ability-specific influences. This is further evidenced for different pathways in the acquisition and development of absolute pitch, likely influenced by both genetic and environmental factors and their interaction.

Larger Auditory Cortical Area and Broader Frequency Tuning Underlie Absolute Pitch

Absolute pitch (AP), the ability of some musicians to precisely identify and name musical tones in isolation, is associated with a number of gross morphological changes in the brain, but the fundamental neural mechanisms underlying this ability have not been clear. We presented a series of logarithmic frequency sweeps to age- and sex-matched groups of musicians with or without AP and controls without musical training. We used fMRI and population receptive field (pRF) modeling to measure the responses in the auditory cortex in 61 human subjects. The tuning response of each fMRI voxel was characterized as Gaussian, with independent center frequency and bandwidth parameters. We identified three distinct tonotopic maps, corresponding to primary (A1), rostral (R), and rostral-temporal (RT) regions of auditory cortex. We initially hypothesized that AP abilities might manifest in sharper tuning in the auditory cortex. However, we observed that AP subjects had larger cortical area, with the increased area primarily devoted to broader frequency tuning. We observed anatomically that A1, R and RT were significantly larger in AP musicians than in non-AP musicians or control subjects, which did not differ significantly from each other. The increased cortical area in AP in areas A1 and R were primarily low frequency and broadly tuned, whereas the distribution of responses in area RT did not differ significantly. We conclude that AP abilities are associated with increased early auditory cortical area devoted to broad-frequency tuning and likely exploit increased ensemble encoding.SIGNIFICANCE STATEMENT Absolute pitch (AP), the ability of some musicians to precisely identify and name musical tones in isolation, is associated with a number of gross morphological changes in the brain, but the fundamental neural mechanisms have not been clear. Our study shows that AP musicians have significantly larger volume in early auditory cortex than non-AP musicians and non-musician controls and that this increased volume is primarily devoted to broad-frequency tuning. We conclude that AP musicians are likely able to exploit increased ensemble representations to encode and identify frequency.

Early tone categorization in absolute pitch musicians is subserved by the right-sided perisylvian brain

Absolute pitch (AP) is defined as the ability to identify and label tones without reference to keyality. In this context, the main question is whether early or late processing stages are responsible for this ability. We investigated the electrophysiological responses to tones in AP and relative pitch (RP) possessors while participants listened attentively to sine tones. Since event-related potentials are particularly suited for tracking tone encoding (N100 and P200), categorization (N200), and mnemonic functions (N400), we hypothesized that differences in early pitch processing stages would be reflected by increased N100 and P200-related areas in AP musicians. Otherwise, differences in later cognitive stages of tone processing should be mirrored by increased N200 and/or N400 areas in AP musicians. AP possessors exhibited larger N100 areas and a tendency towards enhanced P200 areas. Furthermore, the sources of these components were estimated and statistically compared between the two groups for a set of a priori defined regions of interest. AP musicians demonstrated increased N100-related current densities in the right superior temporal sulcus, middle temporal gyrus, and Heschl’s gyrus. Results are interpreted as indicating that early between-group differences in right-sided perisylvian brain regions might reflect auditory tone categorization rather than labelling mechanisms.

A Tendency Towards Details? Inconsistent Results on Auditory and Visual Local-To-Global Processing in Absolute Pitch Musicians

Absolute pitch, the ability to name or produce a musical tone without a reference, is a rare ability which is often related to early musical training and genetic components. However, it remains a matter of debate why absolute pitch is relatively common in autism spectrum disorders and why absolute pitch possessors exhibit higher autistic traits. By definition absolute pitch is an ability that does not require the relation of tones but is based on a lower-level perceptual entity than relative pitch (involving relations between tones, intervals, and melodies). This study investigated whether a detail-oriented cognitive style, a concept borrowed from the autism literature (weak central coherence theory), might provide a framework to explain this joint occurrence. Two local-to-global experiments in vision (hierarchically constructed letters) and audition (hierarchically constructed melodies) as well as a pitch adjustment test measuring absolute pitch proficiency were conducted in 31 absolute pitch and 33 relative pitch professional musicians. Analyses revealed inconsistent group differences among reaction time, total of correct trials and speed-accuracy-composite-scores of experimental conditions (local vs. global, and congruent vs. incongruent stimuli). Furthermore, amounts of interference of global form on judgments of local elements and vice versa were calculated. Interestingly, reduced global-to-local interference in audition was associated with greater absolute pitch ability and in vision with higher autistic traits. Results are partially in line with the idea of a detail-oriented cognitive style in absolute pitch musicians. The inconsistency of the results might be due to limitations of global-to-local paradigms in measuring cognitive style and due to heterogeneity of absolute pitch possessors. In summary, this study provides further evidence for a multifaceted pattern of various and potentially interacting factors on the acquisition of absolute pitch.

The effects of ethnicity, musicianship, and tone language experience on pitch perception

Language and music are intertwined: music training can facilitate language abilities, and language experiences can also help with some music tasks. Possible language–music transfer effects are explored in two experiments in this study. In Experiment 1, we tested native Mandarin, Korean, and English speakers on a pitch discrimination task with two types of sounds: speech sounds and fundamental frequency (F0) patterns derived from speech sounds. To control for factors that might influence participants’ performance, we included cognitive ability tasks testing memory and intelligence. In addition, two music skill tasks were used to examine general transfer effects from language to music. Prior studies showing that tone language speakers have an advantage on pitch tasks have been taken as support for three alternative hypotheses: specific transfer effects, general transfer effects, and an ethnicity effect. In Experiment 1, musicians outperformed non-musicians on both speech and F0 sounds, suggesting a music-to-language transfer effect. Korean and Mandarin speakers performed similarly, and they both outperformed English speakers, providing some evidence for an ethnicity effect. Alternatively, this could be due to population selection bias. In Experiment 2, we recruited Chinese Americans approximating the native English speakers’ language background to further test the ethnicity effect. Chinese Americans, regardless of their tone language experiences, performed similarly to their non–Asian American counterparts in all tasks. Therefore, although this study provides additional evidence of transfer effects across music and language, it casts doubt on the contribution of ethnicity to differences observed in pitch perception and general music abilities.

Music Proficiency and Quantification of Absolute Pitch: A Large-Scale Study among Brazilian Musicians

Absolute pitch (AP) is the ability to identify and name the pitch of a sound without external reference. Often, accuracy and speed at naming isolated musical pitches are correlated with demographic, biological, and acoustical parameters to gain insight into the genesis and evolution of this ability in specific cohorts. However, the majority of those studies were conducted in North America, Europe, or Asia. To fill this gap, here we investigated the pitch-naming performance in a large population of Brazilian conservatory musicians (N = 200). As previously shown, we found that the population performance was rather a continuum than an “all-or-none” ability. By comparing the observed distribution of correct responses to a theoretical binomial distribution, we estimated the prevalence of AP as being 18% amongst regular music students. High accuracy thresholds (e.g., 85% of correct responses) yielded a prevalence of 4%, suggesting that AP might have been underestimated in previous reports. Irrespective of the threshold used, AP prevalence was higher in musicians who started their musical practice and formal musical education early in life. Finally, we compared the performance of those music students (average proficiency group) with another group of students selected to take part in the conservatory orchestra (high proficiency group, N = 30). Interestingly, the prevalence of AP was higher in the latter in comparison to the former group. In addition, even when the response was incorrect, the mean absolute deviation from the correct response was smaller in the high proficiency group compared to the average proficiency group (Glass's Δ: 0.5). Taken together, our results show that the prevalence of AP in Brazilian students is similar to other non-tonal language populations, although this measure is highly dependent on the scoring threshold used. Despite corroborating that early involvement with musical practice and formal education can foster AP ability, the present data suggest that music proficiency may also play an important role in AP expression.

Pitch perception and production in congenital amusia: Evidence from Cantonese speakers

This study investigated pitch perception and production in speech and music in individuals with congenital amusia (a disorder of musical pitch processing) who are native speakers of Cantonese, a tone language with a highly complex tonal system. Sixteen Cantonese-speaking congenital amusics and 16 controls performed a set of lexical tone perception, production, singing, and psychophysical pitch threshold tasks. Their tone production accuracy and singing proficiency were subsequently judged by independent listeners, and subjected to acoustic analyses. Relative to controls, amusics showed impaired discrimination of lexical tones in both speech and non-speech conditions. They also received lower ratings for singing proficiency, producing larger pitch interval deviations and making more pitch interval errors compared to controls. Demonstrating higher pitch direction identification thresholds than controls for both speech syllables and piano tones, amusics nevertheless produced native lexical tones with comparable pitch trajectories and intelligibility as controls. Significant correlations were found between pitch threshold and lexical tone perception, music perception and production, but not between lexical tone perception and production for amusics. These findings provide further evidence that congenital amusia is a domain-general language-independent pitch-processing deficit that is associated with severely impaired music perception and production, mildly impaired speech perception, and largely intact speech production.

The Enhanced Musical Rhythmic Perception in Second Language Learners

Previous research suggests that mastering languages with distinct rather than similar rhythmic properties enhances musical rhythmic perception. This study investigates whether learning a second language (L2) contributes to enhanced musical rhythmic perception in general, regardless of first and second languages rhythmic properties. Additionally, we investigated whether this perceptual enhancement could be alternatively explained by exposure to musical rhythmic complexity, such as the use of compound meter in Turkish music. Finally, it investigates if an enhancement of musical rhythmic perception could be observed among L2 learners whose first language relies heavily on pitch information, as is the case with tonal languages. Therefore, we tested Turkish, Dutch and Mandarin L2 learners of English and Turkish monolinguals on their musical rhythmic perception. Participants' phonological and working memory capacities, melodic aptitude, years of formal musical training and daily exposure to music were assessed to account for cultural and individual differences which could impact their rhythmic ability. Our results suggest that mastering a L2 rather than exposure to musical rhythmic complexity could explain individuals' enhanced musical rhythmic perception. An even stronger enhancement of musical rhythmic perception was observed for L2 learners whose first and second languages differ regarding their rhythmic properties, as enhanced performance of Turkish in comparison with Dutch L2 learners of English seem to suggest. Such a stronger enhancement of rhythmic perception seems to be found even among L2 learners whose first language relies heavily on pitch information, as the performance of Mandarin L2 learners of English indicates. Our findings provide further support for a cognitive transfer between the language and music domain.

What the [bleep]? Enhanced absolute pitch memory for a 1000Hz sine tone

Many individuals are able to perceive when the tuning of familiar stimuli, such as popular music recordings, has been altered. This suggests a kind of ubiquitous pitch memory, though it is unclear how this ability differs across individuals with and without absolute pitch (AP) and whether it plays any role in AP. In the present study, we take advantage of a salient single frequency - the 1000Hz sine tone used to censor taboo words in broadcast media - to assess the nature of this kind of pitch memory across individuals with and without AP. We show that non-AP participants are accurate at selecting the correct version of the censor tone among incorrect versions shifted by either one or two semitones, though their accuracy was still below that of an AP population (Experiment 1). This suggests a benefit for AP listeners that could be due to the use of explicit note categories or greater amounts of musical training. However, AP possessors still outperformed all non-AP participants when incorrect versions of the censor tone were shifted within a note category, even when controlling for musical experience (Experiment 2). Experiment 3 demonstrated that AP listeners did not appear to possess a category label for the censor tone that could have helped them differentiate the censor tones used in Experiment 2. Overall, these results suggest that AP possessors may have better pitch memory, even when divorced from pitch labeling (note categories). As such, these results have implications for how AP may develop and be maintained.

Top-Down Modulation on the Perception and Categorization of Identical Pitch Contours in Speech and Music

Whether pitch in language and music is governed by domain-specific or domain-general cognitive mechanisms is contentiously debated. The aim of the present study was to investigate whether mechanisms governing pitch contour perception operate differently when pitch information is interpreted as either speech or music. By modulating listening mode, this study aspired to demonstrate that pitch contour perception relies on domain-specific cognitive mechanisms, which are regulated by top-down influences from language and music. Three groups of participants (Mandarin speakers, Dutch speaking non-musicians, and Dutch musicians) were exposed to identical pitch contours, and tested on their ability to identify these contours in a language and musical context. Stimuli consisted of disyllabic words spoken in Mandarin, and melodic tonal analogs, embedded in a linguistic and melodic carrier phrase, respectively. Participants classified identical pitch contours as significantly different depending on listening mode. Top-down influences from language appeared to alter the perception of pitch contour in speakers of Mandarin. This was not the case for non-musician speakers of Dutch. Moreover, this effect was lacking in Dutch speaking musicians. The classification patterns of pitch contours in language and music seem to suggest that domain-specific categorization is modulated by top-down influences from language and music.

The Speech-to-Song Illusion Is Reduced in Speakers of Tonal (vs. Non-Tonal) Languages

The speech-to-song illusion has attracted interest as a probe of the perceptual interface between language and music. One might anticipate differential speech-to-song effects in tonal vs. non-tonal languages, since these language classes differ importantly in the linguistic value they assign to tones. Here we addressed this issue for the first time in a cohort of 20 healthy younger adults whose native language was either tonal (Thai, Mandarin) or non-tonal (German, Italian) and all of whom were also fluent in English. All participants were assessed using a protocol designed to induce the speech-to-song illusion on speech excerpts presented in each of the five study languages. Over the combined participant group, there was evidence of a speech-to-song illusion effect for all language stimuli and the extent to which individual participants rated stimuli as "song-like" at baseline was significantly positively correlated with the strength of the speech-to-song effect. However, tonal and non-tonal language stimuli elicited comparable speech-to-song effects and no acoustic language parameter was found to predict the effect. Examining the effect of the listener's native language, tonal language native speakers experienced significantly weaker speech-to-song effects than non-tonal native speakers across languages. Both non-tonal native language and inability to understand the stimulus language significantly predicted the speech-to-song illusion. These findings together suggest that relative propensity to perceive prosodic structures as inherently linguistic vs. musical may modulate the speech-to-song illusion.

Effects of musical and linguistic experience on categorization of lexical and melodic tones

This study investigated the categorization of Mandarin lexical tones and music melodic tones by listeners differing in linguistic and musical experience (English musicians, English non-musicians, and Mandarin non-musicians). Linguistic tonal continua were created from the Mandarin rising to level, and falling to level tones. Melodic continua were created by varying the note D under the context of C and E. The tasks involved tone discrimination and identification. Results revealed that musical training facilitated Mandarin tone categorization, with English musicians' tone identification approximating native Mandarin patterns, being more categorical than English non-musicians'. However, English musicians showed higher discrimination accuracy than Mandarin listeners but not English non-musicians. This suggests that musical experience was not advantageous in discriminating linguistic tonal variations, which requires listeners to ignore subtle physical differences in order to make categorical judgments. Similarly, Mandarin tone experience affected melodic tone identification, with Mandarin non-musicians approximating English musicians, showing more categorical patterns than English non-musicians. In contrast, Mandarin non-musicians' melodic discrimination was the poorest among the three groups, indicating that their experience with linguistic tone categorization may have decreased their sensitivity to fine-grained pitch variations. These results demonstrate bi-directional transfer of pitch proficiency between speech and music as a function of experience.

Without Conscious Effort

Abstract. Tonal language speakers perform well in discriminating lexical tones in their own language. However, it is unknown whether their proficiency extends to the nonlinguistic context. This study compared the accuracy of performance of Cantonese and English speakers on tonal discrimination tasks. The findings demonstrated that the Cantonese speakers performed better than the English speakers in discriminating lexical tones in the linguistic context, even when the stimuli could not be consciously perceived. Nevertheless, there was no significant performance difference between Cantonese and English speakers in discriminating nonlexical tones in the nonlinguistic context. The results demonstrate the excellence of the linguistic component to tolerate noise. Moreover, the contrastive findings obtained in this study suggest that the transferability of the experience with lexical tones to nonlinguistic activities can be highly contextualized.

Bridging the gap between perceptual and cognitive perspectives on absolute pitch

Absolute pitch (AP) refers to the rare ability to identify the chroma of a tone or to produce a specific pitch without reference to keyality (e.g., G or C). Previously, AP has been proposed to rely on the distinctive functional-anatomical architecture of the left auditory-related cortex (ARC), this specific trait possibly enabling an optimized early "categorical perception". In contrast, currently prevailing models of AP postulate that cognitive rather than perceptual processes, namely "pitch labeling" mechanisms, more likely constitute the bearing skeleton of AP. This associative memory component has previously been proposed to be dependent, among other mechanisms, on the recruitment of the left dorsolateral prefrontal cortex (DLPFC) as well as on the integrity of the left arcuate fasciculus, a fiber bundle linking the posterior supratemporal plane with the DLPFC. Here, we attempted to integrate these two apparently conflicting perspectives on AP, namely early "categorical perception" and "pitch labeling". We used electroencephalography and evaluated resting-state intracranial functional connectivity between the left ARC and DLPFC in a sample of musicians with and without AP. Results demonstrate significantly increased left-hemispheric theta phase synchronization in AP compared with non-AP musicians. Within the AP group, this specific electrophysiological marker was predictive of absolute-hearing behavior and explained ∼30% of variance. Thus, we propose that in AP subjects the tonal inputs and the corresponding mnemonic representations are tightly coupled in such a manner that the distinctive electrophysiological signature of AP can saliently be detected in only 3 min of resting-state measurements.

Absolute Pitch: Evidence for Early Cognitive Facilitation during Passive Listening as Revealed by Reduced P3a Amplitudes

Absolute pitch (AP) is the rare ability to identify or produce different pitches without using reference tones. At least two sequential processing stages are assumed to contribute to this phenomenon. The first recruits a pitch memory mechanism at an early stage of auditory processing, whereas the second is driven by a later cognitive mechanism (pitch labeling). Several investigations have used active tasks, but it is unclear how these two mechanisms contribute to AP during passive listening. The present work investigated the temporal dynamics of tone processing in AP and non-AP (NAP) participants by using EEG. We applied a passive oddball paradigm with between- and within-tone category manipulations and analyzed the MMN reflecting the early stage of auditory processing and the P3a response reflecting the later cognitive mechanism during the second processing stage. Results did not reveal between-group differences in MMN waveforms. By contrast, the P3a response was specifically associated with AP and sensitive to the processing of different pitch types. Specifically, AP participants exhibited smaller P3a amplitudes, especially in between-tone category conditions, and P3a responses correlated significantly with the age of commencement of musical training, suggesting an influence of early musical exposure on AP. Our results reinforce the current opinion that the representation of pitches at the processing level of the auditory-related cortex is comparable among AP and NAP participants, whereas the later processing stage is critical for AP. Results are interpreted as reflecting cognitive facilitation in AP participants, possibly driven by the availability of multiple codes for tones.

Perfect pitch reconsidered

Perfect pitch, or absolute pitch (AP), is defined as the ability to identify or produce the pitch of a sound without need for a reference pitch, and is generally regarded as a valuable asset to the musician. However, there has been no recent review of the literature examining its aetiology and its utility taking into account emerging scientific advances in AP research, notably in functional imaging. This review analyses the key empirical research on AP, focusing on genetic and neuroimaging studies. The review concludes that: AP probably has a genetic predisposition, although this is based on limited evidence; early musical training is almost certainly essential for AP acquisition; and, although there is evidence that it may be relevant to speech processing, AP can interfere with relative pitch, an ability on which humans rely to communicate effectively. The review calls into question the value of AP to musicians and non-musicians alike.

Perception of pitch height in lexical and musical tones by English-speaking musicians and nonmusicians

The purpose of this study was to explore the music-speech relationship by examining pitch height perception in lexical and musical tones. English-speaking musicians and nonmusicians identified multispeaker Taiwanese level tones without typical cues for speaker normalization. The musicians also identified note names of piano, viola, and pure tones without a reference pitch. In the Taiwanese task, both the musicians and nonmusicians were able to identify tone height above chance, but only for tones at the extremes of the speakers' overall vocal range. The musicians only had a slight advantage over the nonmusicians. In the music task, none of the musicians met the criterion for absolute pitch. Timbre did not affect how accurately the musical tones were identified. No correlations were found between performance in the Taiwanese task and that in the music task. It was concluded that musicians' advantage in lexical tone perception arose from the ability to track F0 contours. The ability to identify pitch height in lexical tones appears to involve calibrating acoustic input according to gender-specific, internally stored pitch templates.

Valproate reopens critical-period learning of absolute pitch

Absolute pitch, the ability to identify or produce the pitch of a sound without a reference point, has a critical period, i.e., it can only be acquired early in life. However, research has shown that histone-deacetylase inhibitors (HDAC inhibitors) enable adult mice to establish perceptual preferences that are otherwise impossible to acquire after youth. In humans, we found that adult men who took valproate (VPA) (a HDAC inhibitor) learned to identify pitch significantly better than those taking placebo—evidence that VPA facilitated critical-period learning in the adult human brain. Importantly, this result was not due to a general change in cognitive function, but rather a specific effect on a sensory task associated with a critical-period.

O Ouvido Absoluto: bases neurocognitivas e perspectivas

O Ouvido Absoluto, a capacidade de nomear tons sem uma referência externa, é comumente relacionada à cognição musical. Embora se note um crescente investimento em seu estudo, muitas questões ainda encontram-se pouco esclarecidas, tais quais: gênese, conceito, metodologias de estudo, aspectos estruturais e funcionais que o caracterizam. Esta revisão propõe-se a analisar os avanços recentes e limitações da área, considerando-se as bases metodológicas e teóricas, bem como pontos controversos que permeiam o tema, como a definição e origem da habilidade. Como conclusão, aponta-se a necessidade de delineamentos específicos para o estudo da cognição musical como um aliado importante para a melhor compreensão e elucidação dos problemas inerentes ao Ouvido Absoluto.

Absolute pitch among students at the Shanghai Conservatory of Music: a large-scale direct-test study

This paper reports a large-scale direct-test study of absolute pitch (AP) in students at the Shanghai Conservatory of Music. Overall note-naming scores were very high, with high scores correlating positively with early onset of musical training. Students who had begun training at age ≤5 yr scored 83% correct not allowing for semitone errors and 90% correct allowing for semitone errors. Performance levels were higher for white key pitches than for black key pitches. This effect was greater for orchestral performers than for pianists, indicating that it cannot be attributed to early training on the piano. Rather, accuracy in identifying notes of different names (C, C#, D, etc.) correlated with their frequency of occurrence in a large sample of music taken from the Western tonal repertoire. There was also an effect of pitch range, so that performance on tones in the two-octave range beginning on Middle C was higher than on tones in the octave below Middle C. In addition, semitone errors tended to be on the sharp side. The evidence also ran counter to the hypothesis, previously advanced by others, that the note A plays a special role in pitch identification judgments.

An Empirical Reevaluation of Absolute Pitch: Behavioral and Electrophysiological Measurements

Here, we reevaluated the “two-component” model of absolute pitch (AP) by combining behavioral and electrophysiological measurements. This specific model postulates that AP is driven by a perceptual encoding ability (i.e., pitch memory) plus an associative memory component (i.e., pitch labeling). To test these predictions, during EEG measurements AP and non-AP (NAP) musicians were passively exposed to piano tones (first component of the model) and additionally instructed to judge whether combinations of tones and labels were conceptually associated or not (second component of the model). Auditory-evoked N1/P2 potentials did not reveal differences between the two groups, thus indicating that AP is not necessarily driven by a differential pitch encoding ability at the processing level of the auditory cortex. Otherwise, AP musicians performed the conceptual association task with an order of magnitude better accuracy and shorter RTs than NAP musicians did, this result clearly pointing to distinctive conceptual associations in AP possessors. Most notably, this behavioral superiority was reflected by an increased N400 effect and accompanied by a subsequent late positive component, the latter not being distinguishable in NAP musicians.

Absolute pitch is associated with a large auditory digit span: a clue to its genesis

Auditory and visual digit span tests were administered to a group of absolute pitch (AP) possessors, and a group of AP nonpossessors matched for age, and for age of onset and duration of musical training. All subjects were speakers of English. The AP possessors substantially and significantly outperformed the nonpossessors on the auditory test, while the two groups did not differ significantly on the visual test. It is conjectured that a large auditory memory span, including memory for speech sounds, facilitates the development of associations between pitches and their verbal labels early in life, so promoting the acquisition of AP.

Vocal imitation of song and speech

We report four experiments that explored the cognitive bases of vocal imitation. Specifically, we investigated the accuracy with which normal individuals vocally imitated the pitch-time trajectories of spoken sentences and sung melodies, presented in their original form and with phonetic information removed. Overall, participants imitated melodies more accurately than sentences with respect to absolute pitch but not with respect to relative pitch or timing (overall duration). Notably, the presence of phonetic information facilitated imitation of both melodies and speech. Analyses of individual differences across studies suggested that the accuracy of imitating song predicts accuracy of imitating speech. Overall, these results do not accord with accounts of modular pitch processing that emphasize information encapsulation.

The separation between music and speech: evidence from the perception of Cantonese tones

This study investigates the relationship between music and speech, testing whether musical training has any facilitatory effects on native tone language speakers. Some Cantonese tone pairs are merging in recent years. The merging subjects have poorer general lexical tone perception than the control subjects. Previous studies showed that musical training facilitates lexical tone perception of nontone language speakers, but it is unclear if the same is true for tone language speakers. Three groups of listeners (standard Cantonese, merging Cantonese, nontone) with and without musical training participated in AX discrimination tasks of Cantonese monosyllables and pure tones resynthesized from Cantonese lexical tones. Results show that while musical training enhances lexical tone perception of nontone listeners, it has little influence on Cantonese listeners. The findings suggest that the linguistic use of tones is more fundamental and more robust than musical tones. Our results are compatible with the idea that linguistic and musical mechanisms belong to separate but overlapping domains.