Vowel identity between note labels confuses pitch identification in non-absolute pitch possessors

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.

Mulheres e homens: diferentes também na percepção das notas musicais?

O objetivo deste estudo foi avaliar a percepção das notas musicais RÉ, FÁ, e LÁ em adultos jovens. Participaram do estudo 20 homens e 20 mulheres de 18 a 29 anos, saudáveis, não músicos e não usuários de fármacos ou outras substâncias tóxicas. Realizou-se um teste de discriminação de notas musicais com escolha forçada entre duas alternativas, por meio do qual os participantes escolheram um estímulo previamente apresentado. Comparou-se a frequência de acertos na discriminação das notas musicais em relação ao sexo dos participantes. Encontraram-se diferenças estatisticamente significantes na nota musical Fá, sendo que os homens apresentaram maior quantidade de acertos que as mulheres. Esses resultados encontrados sugerem diferença na percepção das notas musicais para mulheres e homens.

Absolute pitch memory: its prevalence among musicians and dependence on the testing context

Absolute pitch (AP) is widely believed to be a rare ability possessed by only a small group of gifted and special individuals (AP possessors). While AP has fascinated psychologists, neuroscientists, and musicians for more than a century, no theory can satisfactorily explain why this ability is so rare and difficult to learn. Here, we show that AP ability appears rare because of the methodological issues of the standard pitch-naming test. Specifically, the standard test unnecessarily poses a high decisional demand on AP judgments and uses a testing context that is highly inconsistent with one's musical training. These extra cognitive challenges are not central to AP memory per se and have thus led to consistent underestimation of AP ability in the population. Using the standard test, we replicated the typical findings that the accuracy for general violinists was low (12.38 %; chance level = 0 %). With identical stimuli, scoring criteria, and participants, violinists attained 25 % accuracy in a pitch verification test in which the decisional demand of AP judgment was reduced. When the testing context was increasingly similar to their musical experience, verification accuracy improved further and reached 39 %, three times higher than that for the standard test. Results were replicated with a separate group of pianists. Our findings challenge current theories about AP and suggest that the prevalence of AP among musicians has been highly underestimated in prior work. A multimodal framework is proposed to better explain AP memory.

"Binaural rivalry": dichotic listening as a tool for the investigation of the neural correlate of consciousness

Since about two decades neuroscientists have systematically faced the problem of consciousness: the aim is to discover the neural activity specifically related to conscious perceptions, i.e. the biological properties of what philosophers call qualia. In this view, a neural correlate of consciousness (NCC) is a precise pattern of brain activity that specifically accompanies a particular conscious experience. Almost all studies aimed at investigating the NCC have been carried out in the visual system. One of the most promising paradigms is based on sensory stimuli which elicit bistable percepts, as they allow to decouple subjective perception from the characteristics of the physical stimulation. Such kind of perception can be produced in the visual modality by using particular images (e.g. Rubin's vase/face figure) or by presenting two dissimilar stimuli separately to the two eyes (binocular rivalry). The stimuli compete for perceptual dominance and each image is visible in turn for a few seconds, while the other is suppressed. The use of this methodology has led to important findings concerning visual consciousness, which are briefly discussed. For the investigation of auditory consciousness, a similar stimulation paradigm can be achieved by using dichotic listening, consisting in two different stimuli presented each to one ear, which compete for perception (binaural rivalry). The principal aim of the present mini-review is to discuss the few contributes facing the issue of auditory consciousness and to advance the use of dichotic listening and binaural rivalry as valid tools for its investigation.