Effects of musical training and absolute pitch on a pitch memory task: An event-related potential study.

1995 ◽  
Vol 14 (1-2) ◽  
pp. 53-76 ◽  
Author(s):  
Edwin C. Hantz ◽  
Kelley G. Kreilick ◽  
Amy L. Braveman ◽  
Kenneth P. Swartz
2000 ◽  
Vol 39 (1) ◽  
pp. 51-65 ◽  
Author(s):  
Guido Kusak ◽  
Kerstin Grune ◽  
Herbert Hagendorf ◽  
Anna-Marie Metz

2003 ◽  
Vol 20 (4) ◽  
pp. 357-382 ◽  
Author(s):  
Laura Bischoff Renninger ◽  
Roni I. Granot ◽  
Emanuel Donchin

Our primary goal has been to elucidate a model of pitch memory by examining the brain activity of musicians with and without absolute pitch during listening tasks. Subjects, screened for both absolute and relative pitch abilities, were presented with two auditory tasks and one visual task that served as a control. In the first auditory task (pitch memory task), subjects were asked to differentiate between diatonic and nondiatonic tones within a tonal framework. In the second auditory task (contour task), subjects were presented with the same pitch sequences but instead asked to differentiate between tones moving upward or downward. For the visual control task, subjects were presented again with the same pitch sequences and asked to determine whether each pitch was diatonic or nondiatonic, only this time the note names appeared visually on the computer screen. Our findings strongly suggest that there are various levels of absolute pitch ability. Some absolute pitch subjects have, in addition to this skill, strong relative pitch abilities, and these differences are reflected quite consistently by the behavior of the P300 component of the event-related potential. Our research also strengthens the idea that the memory system for pitch and interval distances is distinct from the memory system for contour (W. J. Dowling, 1978). Our results are discussed within the context of the current absolute pitch literature.


2000 ◽  
Vol 9 (1) ◽  
pp. 41-44 ◽  
Author(s):  
Peter Walla ◽  
Walter Endl ◽  
Gerald Lindinger ◽  
Lüder Deecke ◽  
Wilfried Lang

1992 ◽  
Vol 10 (1) ◽  
pp. 25-42 ◽  
Author(s):  
Edwin C. Hantz ◽  
Garry C. Crummer ◽  
John W. Wayman ◽  
Joseph P. Walton ◽  
Robert D. Frisina

During perceptual tasks involving the discrimination of musical intervals, event-related potentials, specifically the P3, were measured for three subject groups: musicians without absolute pitch, musicians with absolute pitch, and nonmusicians. The two interval-discrimination tasks were a simple two-note contour task and a difficult interval-size discrimination task. Clear effects on the neural waveforms were found for both training and the presence of the absolute pitch ability. In general, training increases the amplitude and shortens the latency of the P3, while the absolute pitch ability reduces the amplitude and shortens the latency, or eliminates the P3 altogether. The absolute pitch effect may be due to the use of a long-term memory strategy involved in the correct performance of the discrimination task rather than performing the task by updating working memory each time a target occurs. Finally, these data are contrasted with those from studies involving sine tones and timbrediscrimination tasks.


2011 ◽  
Author(s):  
L. Sokka ◽  
V. Kalakoski ◽  
M. Haavisto ◽  
J. Korpela ◽  
A. Henelius ◽  
...  

1996 ◽  
Author(s):  
Edward Bernat ◽  
Scott Bunce ◽  
Howard Shevrin ◽  
Stephen Hibbard ◽  
Mike Snodgrass

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