Are there specialized mechanisms for pitch interval perception?

2009 ◽  
Vol 125 (4) ◽  
pp. 2523-2523
Author(s):  
Josh H. McDermott ◽  
Michael V. Keebler ◽  
Andrew J. Oxenham
Keyword(s):  
Pitch Interval

scholarly journals Task-Based Variability in Children’s Singing Accuracy

2016 ◽  
Vol 64 (3) ◽  
pp. 309-321 ◽  
Author(s):  
Bryan E. Nichols
Keyword(s):  
Task Type ◽  
Task Demands ◽  
Future Research ◽  
Pitch Interval ◽  
Internal Reliability ◽  
Singing Accuracy ◽  
Private Lessons ◽  
Test Items ◽  
History Of ◽  
Task Types

The purpose of this study was to explore the effect of task demands on children’s singing accuracy. A 2 × 4 factorial design was used to examine the performance of fourth-grade children ( N = 120) in solo and doubled response conditions. Each child sang four task types: single pitch, interval, pattern, and the song “Jingle Bells.” The results indicated that children’s singing accuracy varied by task type, with poorer performance on patterns and songs than on single pitches and intervals. Performance was significantly better for all tasks in the doubled condition than in the solo condition, and a significant interaction indicated task-based performance varied by response mode. Students who indicated some history of private lessons ( n = 54) performed significantly better than those without. Internal reliability using five test items for each type of singing task was satisfactory. Application of the Spearman-Brown formula suggests that a minimum of three items can be included in each task in future research for a reliability coefficient of .75, and four items for a coefficient greater than .80. Performance on these singing tasks was significantly intercorrelated.

Place-Pitch Interval Perception With a Cochlear Implant

2020 ◽  
Vol Publish Ahead of Print ◽  
Author(s):  
Natalia Stupak ◽  
Ann E. Todd ◽  
David M. Landsberger
Keyword(s):  
Cochlear Implant ◽  
Pitch Interval ◽  
Place Pitch

scholarly journals Pitch Spelling: A Computational Model

2003 ◽  
Vol 20 (4) ◽  
pp. 411-429 ◽  
Author(s):  
Emilios Cambouropoulos
Keyword(s):  
Computational Model ◽  
Success Rate ◽  
A Priori ◽  
Music Notation ◽  
Optimization Approach ◽  
Interval Optimization ◽  
Piano Sonatas ◽  
Pitch Interval ◽  
Interval Representations ◽  
Spelling Strategies

In this article, cognitive and musicological aspects of pitch and pitch interval representations are explored via computational modeling. The specific task under investigation is pitch spelling, that is, how traditional score notation can be derived from a simple unstructured 12-tone representation (e.g., pitch-class set or MIDI pitch representation). This study provides useful insights both into the domain of pitch perception and into musicological aspects of score notation strategies. A computational model is described that transcribes polyphonic MIDI pitch files into the Western traditional music notation. Input to the proposed algorithm is merely a sequence of MIDI pitch numbers in the order they appear in a MIDI file. No a priori knowledge such as key signature, tonal centers, time signature, chords, or voice separation is required. Output of the algorithm is a sequence of "correctly" spelled pitches. The algorithm is based on an interval optimization approach that takes into account the frequency of occurrence of pitch intervals within the major-minor tonal scale framework. The algorithm was evaluated on 10 complete piano sonatas by Mozart and had a success rate of 98.8% (634 pitches were spelled incorrectly out of a total of 54,418 notes); it was tested additionally on three Chopin waltzes and had a slightly worse success rate. The proposed pitch interval optimization approach is also compared with and tested against other pitch-spelling strategies.

Accent Structures in the Reproduction of Simple Tunes by Children and Adult Pianists

1991 ◽  
Vol 8 (3) ◽  
pp. 315-334 ◽  
Author(s):  
Carolyn Drake ◽  
W. Jay Dowling ◽  
Caroline Palmer
Keyword(s):  
The Other ◽  
Pitch Interval ◽  
Intermediate Results ◽  
Accent Structure ◽  
Time Segmentation

This paper examines the influence of three accent structures on the reproduction of simple musical tunes by 5-, 7-, 9-, and 11-year-old children and adult pianists. In the metric accent structure, periodically spaced beats are accented; in the melodic accent structure, events after a jump in pitch interval or after a turn in contour are accented; and in the rhythmic grouping accent structure, the first and last events of a rhythmic group are accented. Four themes were created in which all three accent structures coincided. Three variations were derived from each theme in which each accent structure in turn was moved out of synchrony with the other two. In a fourth variation, all three accent structures were out of synchrony with each other. Both the children's and the pianists' reproductions were the most accurate when the accent structures coincided and the least accurate when they conflicted. Intermediate results were obtained when the rhythmic grouping and melodic accent structures were displaced, but no deterioration in performance was observed when the metric accent structure was displaced, demonstrating the relatively unimportant role played by intensity variations in these conditions. These results were obtained only for the melody scores—no deteriorations were found in the rhythm scores. For the pianists, fewer errors were made on the accented notes than on the others. So, the juxtaposition of the three accent structures does indeed influence the perception of musical sequences. When attention is drawn to the same point in time by several different accent structures, the segmentation of the sequence into smaller units is efficient and reproductions are good. However, when attention is drawn to too many points in time, segmentation is less efficient and reproductions are poorer.

scholarly journals The Performance of Notes Inégales: The Influence of Tempo, Musical Structure, and Individual Performance Style on Expressive Timing

2011 ◽  
Vol 28 (5) ◽  
pp. 449-460 ◽  
Author(s):  
Dirk Moelants
Keyword(s):  
Music Performance ◽  
Individual Performance ◽  
Musical Structure ◽  
Pitch Interval ◽  
Actual Performance ◽  
Performance Style ◽  
Baroque Music ◽  
The Mean ◽  
A Minor ◽  
Individual Interpretation

notes inégales is a common practice in the performance of French baroque music. It indicates that the first of a pair of equally notated notes is played longer, similar to the use of swing eighths in jazz. The performance of that inequality is an ongoing source of debate, but the actual performance has not been studied yet. In an experiment, eight harpsichordists and eight baroque violinists performed six melodies of French baroque gavottes in three tempo conditions. The mean ratio of inequality was 1.63, with mean ratios of individual performers varying between 1.89 and 1.33. Another significant source of variance was the metric structure, with larger inequality found at metrically important points. Tempo also had an important influence, but individual interpretation varied greatly. For example, while most performers played more evenly while tempo increased, some performers chose the opposite strategy. Pitch interval had only a minor impact on the execution of the notes inégales, but also showed differences between performers. The results show the importance of personal style in music performance: although the music played is highly standardized, we show how the timing of different performers can be influenced by different aspects of the musical structure.

scholarly journals Evaluation of Heat Exchange Rate in Horizontal Slinky and Coil Type Ground Heat Exchangers Considering Pitch Interval

2014 ◽  
Vol 30 (7) ◽  
pp. 55-61 ◽  
Author(s):  
Seok Yoon ◽  
Seung-Rae Lee ◽  
Min-Jun Kim ◽  
Woo-Jin Kim ◽  
Gyu-Hyun Go ◽  
...  
Keyword(s):  
Exchange Rate ◽  
Heat Exchange ◽  
Heat Exchangers ◽  
Pitch Interval ◽  
Ground Heat Exchangers
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