The Alpha and Omega of Musical Pitch Processing—Absolute Pitch and Congenital Amusia

2009 ◽  
Vol 24 (3) ◽  
pp. 141-150
Author(s):  
William J Dawson
Keyword(s):  
Performing Arts ◽  
Absolute Pitch ◽  
Research Topic ◽  
Performing Arts Medicine ◽  
Pitch Processing ◽  
The Past ◽  
Congenital Amusia ◽  
Musical Pitch ◽  
Process Music

The neurobiology of music has been a prolific source of publications in performing arts medicine over the past 15 years. A common research topic in music neurobiology is how humans perceive and process music. This review concentrates on two opposite aspects of pitch processing—heightened ability (absolute pitch) and absent ability (congenital amusia). From the bibliography of performing arts medicine found on the website of the Performing Arts Medicine Association, 165 citations were identified (as of February 2009) that deal with these topics, 149 on absolute pitch and 70 on congenital amusia, and form the basis of this review.

scholarly journals Meta-analytic evidence for the non-modularity of pitch processing in congenital amusia

2020 ◽  
Author(s):  
Dominique T Vuvan ◽  
Marília Nunes-Silva ◽  
Isabelle Peretz
Keyword(s):  
Meta Analysis ◽  
Pitch Perception ◽  
Developmental Trajectory ◽  
Pitch Discrimination ◽  
Major Theme ◽  
Performance Gap ◽  
Pitch Processing ◽  
Congenital Amusia ◽  
Musical Pitch ◽  
Using Data

A major theme driving research in congenital amusia is related to the modularity of this musical disorder, with two possible sources of the amusic pitch perception deficit. The first possibility is that the amusic deficit is due to a broad disorder of acoustic pitch processing that has the effect of disrupting downstream musical pitch processing, and the second is that amusia is specific to a musical pitch processing module. To interrogate these hypotheses, we performed a meta-analysis on two types of effect sizes contained within 42 studies in the amusia literature: the performance gap between amusics and controls on tasks of pitch discrimination, broadly defined, and the correlation between specifically acoustic pitch perception and musical pitch perception. To augment the correlation database, we also calculated this correlation using data from 106 participants tested by our own research group. We found strong evidence for the acoustic account of amusia. The magnitude of the performance gap was moderated by the size of pitch change, but not by whether the stimuli were composed of tones or speech. Furthermore, there was a significant correlation between an individual's acoustic and musical pitch perception. However, individual cases show a double dissociation between acoustic and musical processing, which suggests that although most amusic cases are probably explainable by an acoustic deficit, there is heterogeneity within the disorder. Finally, we found that tonal language fluency does not influence the performance gap between amusics and controls, and that there was no evidence that amusics fare worse with pitch direction tasks than pitch discrimination tasks. These results constitute a quantitative review of the current literature of congenital amusia, and suggest several new directions for research, including the experimental induction of amusic behaviour through transcranial magnetic stimulation (TMS) and the systematic exploration of the developmental trajectory of this disorder.

Perception of Musical Intervals by Absolute Pitch Possessors

1992 ◽  
Vol 9 (4) ◽  
pp. 413-426 ◽  
Author(s):  
Ken'ichi Miyazaki
Keyword(s):  
Strong Dependence ◽  
Absolute Pitch ◽  
Identification Performance ◽  
Pitch Processing ◽  
Pitch Class ◽  
Relative Pitch ◽  
Musical Pitch ◽  
Significant Difference ◽  
Musical Context ◽  
The Sacrifice

Previous studies have demonstrated that absolute pitch (AP) possessors can directly perceive the musical pitch quality (pitch class) of a tone presented in isolation. However, an isolated tone without musical context has no relevance to music, and AP ability should be examined in musically meaningful situations. In this study, AP possessors tried to identify the musical intervals between pairs of successive tones. The first tone (a reference) was either in-tune C according to the conventional pitch standard or out-of-tune C (a quarter-tone higher than standard C). The identification performance was less accurate and slower in the out-of-tune reference condition than in the in-tune condition. In contrast, AP nonpossessors showed no significant difference in performance in the two conditions, as predicted by the principle of equality under transposition. These results suggest that AP subjects tend to adhere to AP in relative pitch tasks, and that at least some AP listeners may have developed a strong dependence on AP at the sacrifice of relative pitch. AP may not have any advantage in music, in which relative pitch, not AP, is essential. Rather, AP may conflict with relative pitch and, in some cases, harm musical pitch processing.

A Unique Asymmetrical Stroop Effect in Absolute Pitch Possessors

2012 ◽  
Vol 59 (5) ◽  
pp. 272-278 ◽  
Author(s):  
Lilach Akiva-Kabiri ◽  
Avishai Henik
Keyword(s):  
Selective Attention ◽  
Stroop Task ◽  
Stroop Effect ◽  
Congruency Effect ◽  
Absolute Pitch ◽  
Naming Task ◽  
Color Naming ◽  
Reading Task ◽  
Pitch Processing ◽  
Reverse Pattern

The Stroop task has been employed to study automaticity or failures of selective attention for many years. The effect is known to be asymmetrical, with words affecting color naming but not vice versa. In the current work two auditory-visual Stroop-like tasks were devised in order to study the automaticity of pitch processing in both absolute pitch (AP) possessors and musically trained controls without AP (nAP). In the tone naming task, participants were asked to name the auditory tone while ignoring a visual note name. In the note naming task, participants were asked to read a note name while ignoring the auditory tone. The nAP group showed a significant congruency effect only in the tone naming task, whereas AP possessors showed the reverse pattern, with a significant congruency effect only in the note reading task. Thus, AP possessors were unable to ignore the auditory tone when asked to read the note, but were unaffected by the verbal note name when asked to label the auditory tone. The results suggest that pitch identification in participants endowed with AP ability is automatic and impossible to suppress.

Pitch Processing of Music and Speech in Congenital Amusia

2013 ◽  
Vol 20 (2) ◽  
pp. 159-167
Author(s):  
Cun-Mei JIANG ◽  
Yu-Fang YANG
Keyword(s):  
Pitch Processing ◽  
Congenital Amusia

613Pediatric Burn Bibliotherapy - An Initial Assessment of Novels About Young Burn Survivors and Their Collective Experiences

2021 ◽  
Vol 42 (Supplement_1) ◽  
pp. S160-S160
Author(s):  
Philip H Chang ◽  
Antonella Barrios ◽  
Jamie Heffernan ◽  
Angela Rabbitts ◽  
Caroline Jedlicka
Keyword(s):  
Performing Arts ◽  
English Language ◽  
Psychosocial Support ◽  
Numerical Data ◽  
Recovery Phase ◽  
Initial Assessment ◽  
Burn Patients ◽  
The Past ◽  
Burn Survivors ◽  
Burn Patient

Abstract Introduction Bibliotherapy is the use of books as a therapeutic intervention for structuring interaction between facilitator and participant based on the mutual sharing of literature. Bibliotherapy has been utilized to address childhood teasing, healthy lifestyles in children, and eating disorders. With the dramatic improvements in survival of burn patients over the past decades, biographies and novels featuring pediatric burn survivors have emerged. These patients often face significant barriers in accessing psychosocial support. Our team hypothesized that bibliotherapy could benefit pediatric burn patients. In order to test this hypothesis, as a first step, our team conducted an assessment of the available burn survivor literature. Methods WorldCat book database was queried using the terms “Burn Patient Fiction” (45 results) and “Burn Patient Biography” (53 results). The authors identified 12 books out of these 98 results likely to be appropriate for adolescent and teenage burn patients based on the brief summaries. The 12 books were then read by the research team and analyzed for burn patient demographics and relevant clinical data when available. Simple descriptive statistics were utilized for numerical data Results Out of 12 books read, 5 were biographies & 7 fictional novels. Protagonists mean age at time of injury was 8.7±5.1 years (range 2–16), with 5 males and 7 females. Average injury size was 57±21% TBSA (range: 14–85). 10 of 12 protagonists suffered facial burns; 7 of 12 suffered hand burns. Oral health/dental issues were described in 4 of 12 books. Geographically, these English language novels spanned Australia (1), Canada 92), and the U.S. (9). Average page length was 237±88 pages (range: 64–372). In 11 of 12 books, mechanism of injury involved flame from car accidents (2), house fires (4), and campfires (2). With regards to sources of positive support during the recovery phase, family was the most commonly cited source (11 novels) followed by friends (10), spiritual/religious support (5), sports (3), burn survivor groups (3), hospital psychiatrists (3), and performing arts (2). Appropriate audience group for most books were teenagers (11) with 5 books deemed also appropriate for adults (only 1 book judged appropriate only for adults), and 2 books appropriate for adolescents. Conclusions Several novels and biographies with pediatric burn survivor protagonists have been written over the past 20 years. Commonalities across these books include flame burn etiology, relatively large TBSA, and burn injuries to visible body areas (face and hand). Family and friends were the most common emotional support for these protagonists. Most books were appropriate for teenagers.

Library Internet Resources: Conducting Performing Arts Research Online

1999 ◽  
Vol 40 (1) ◽  
pp. 97-104
Author(s):  
Susan Brady
Keyword(s):  
World Wide Web ◽  
Communication Technology ◽  
Performing Arts ◽  
World Wide ◽  
The Internet ◽  
Research Libraries ◽  
The Past ◽  
Internet Resources ◽  
The World ◽  
Electronic Access

Over the past decade academic and research libraries throughout the world have taken advantage of the enormous developments in communication technology to improve services to their users. Through the Internet and the World Wide Web researchers now have convenient electronic access to library catalogs, indexes, subject bibliographies, descriptions of manuscript and archival collections, and other resources. This brief overview illustrates how libraries are facilitating performing arts research in new ways.

2009 SAE-P: Sports and Performing Arts Medicine

PM&R ◽  
2009 ◽  
Vol 1 ◽  
pp. S88-S91
Author(s):  
Michelle S. Gittler ◽  
Joseph M. Ihm ◽  
Theresa J. Lie-Nemeth ◽  
Maria Regina Reyes ◽  
Vivian C. Shih
Keyword(s):  
Performing Arts ◽  
Performing Arts Medicine

Diversity in Performing Arts Medicine

2006 ◽  
Vol 21 (2) ◽  
pp. 45-46
Author(s):  
Ralph A Manchester
Keyword(s):  
Performing Arts ◽  
Diverse Populations ◽  
Performing Arts Medicine ◽  
Performing Artists ◽  
The World ◽  
Attention To Diversity

As the diverse populations of the planet interact on a more frequent and intense basis, it becomes increasingly important for every individual and organization to examine its own approach to this vital issue. The field of performing arts medicine should pay particular attention to diversity for a number of reasons, some of which will help to advance our specialty and improve the lives of performing artists, while others may help save the world.

Overuse Injuries in Non-Classical Recreational Instrumentalists

2006 ◽  
Vol 21 (2) ◽  
pp. 80-87 ◽  
Author(s):  
Taylor Buckley ◽  
Ralph Manchester
Keyword(s):  
Performing Arts ◽  
Statistical Significance ◽  
Musical Instrument ◽  
Point Prevalence ◽  
Overuse Injuries ◽  
Anatomical Location ◽  
Performing Arts Medicine ◽  
Single View ◽  
Classical Musicians ◽  
Playing Time

Purpose: Performing arts medicine has traditionally focused on the medical problems of classical musicians. Unfortunately, there is a paucity of data regarding differential incidence or prevalence of injury in nonclassical musicians. The present study analyzed the baseline prevalence, new onset of injury following a substantial increase in playing time at a music camp, and any possible correlation with technical and postural deficits in a population of amateur folk instrumentalists. Methods: Preliminary and follow-up questionnaires were used to gather background and new incidence data, respectively. A subset of subjects was recorded on video, which was independently analyzed for technical deficits at a later time. Results: Lifetime prevalence is 54% for a previous injury attributed to playing a musical instrument and point prevalence is 19%. Following the camp, prevalence increased to 44% (p = 0.001), and incidence of new injury was 31%, including individuals with more than one active injury. A higher rate of injury correlated with a greater increase in absolute playing time, relative playing time above baseline, and absolute time above baseline during the camp, although these did not reach statistical significance. The limited technical analysis qualitatively correlated a technical deficit to an injury at the same anatomical location in 15 of 47 cases using only a single-view video for analysis. Conclusion: Lifetime and point prevalence is similar to that reported in several studies of classical musicians. Further inquiry into technical and postural analysis may help to identify the cause of, and potentially prevent, overuse injuries in folk and classical musicians.

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