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    Tytuł:
    Absolute Pitch and Its Frequency Range
    Autorzy:
    Rakowski, A.
    Rogowski, P.
    Powiązania:
    https://bibliotekanauki.pl/articles/177343.pdf
    Data publikacji:
    2011
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    auditory memory
    pitch
    absolute pitch
    Opis:
    This paper has two distinct parts. Section 1 includes general discussion of the phenomenon of “absolute pitch” (AP), and presentation of various concepts concerning definitions of “full”, “partial” and “pseudo” AP. Sections 2–4 include presentation of the experiment concerning frequency range in which absolute pitch appears, and discussion of the experimental results. The experiment was performed with participation of 9 AP experts selected from the population of 250 music students as best scoring in the pitch-naming piano-tone screening tests. Each subject had to recognize chromas of 108 pure tones representing the chromatic musical scale of nine octaves from E0 to D#9. The series of 108 tones was presented to each subject 60 times in random order, diotically, with loudness level about 65 phon. Percentage of correct recognitions (PC) for each tone was computed. The frequency range for the existence of absolute pitch in pure tones, perceived by sensitive AP possessors stretches usually over 5 octaves from about 130.6 Hz (C3) to about 3.951 Hz (B7). However, it was noted that in a single case, the upper boundary of AP was 9.397 Hz (D9). The split-halves method was applied to estimate the reliability of the obtained results.
    Źródło:
    Archives of Acoustics; 2011, 36, 2; 251-266
    0137-5075
    Pojawia się w:
    Archives of Acoustics
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    On the genesis of absolute pitch
    Autorzy:
    Makomaska, Sylwia
    Powiązania:
    https://bibliotekanauki.pl/articles/780309.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    absolute pitch
    the source of absolute pitch
    absolute pitch acquisition
    early musical training theory
    genetic factors theory
    tonal languages theory
    familial aggregation of absolute pitch
    Opis:
    The clear majority of people with a professional or amateur contact with music do not possess absolute pitch and get by perfectly well without it, making use of relative musical pitch. Yet many people dream of also fixing in their memory the actual pitches of the notes of the musical scale, which would effectively give them the chance to recognise and reproduce any chromatic pitch (C, C#, D, D#, etc.) without recourse to a reference note. Unfortunately, it almost always proves too late for them to develop absolute pitch. The question of the factors determining the forming of absolute pitch is still the subject of quite heated discussion. Practically from the outset of the interest in the phenomenon of absolute pitch (i.e. from the second half of the nineteenth century) controversial theories arose regarding its origins. In discussion on the subject, there was a clash of two fundamental views, regarding absolute pitch either as an innate ability or, on the contrary, as an ability that could be acquired at any age. With time, there emerged an increasing number of hypotheses accounting for the origin of absolute pitch: from the theory of the limitless possibility of absolute pitch acquisition through the theories of innate factors and of early learning, to the latest theory that links absolute pitch to tonal languages. The present paper shows the results of the research project on the occurrence of absolute pitch among young people in musical education in Poland (1175 pupils, aged 11-29) carried out in the years 2004-2007. The test results (pitch-naming tests) supported by the data from the survey (concerning e.g. musical education, familial aggregation of AP and etc.) are presented in the context of theories which attempt to investigate the source of absolute pitch (especially early musical training theory and genetic factors theory).
    Źródło:
    Interdisciplinary Studies in Musicology; 2009, 8; 253-270
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pitch Strength of Residual Sounds Estimated Through Chroma Recognition by Absolute-Pitch Possessors
    Autorzy:
    Rogowski, P.
    Rakowski, A.
    Powiązania:
    https://bibliotekanauki.pl/articles/177930.pdf
    Data publikacji:
    2010
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    absolute pitch
    residual sounds
    virtual pitch
    Opis:
    Absolute pitch is a unique feature of the auditory memory which makes it possible for its possessors to recognize the musical name (chroma) of a tone. Six musicians with absolute pitch, selected from a group of 250 music students as best scoring in musical pitch-naming tests, identified the chroma of residue pitch produced by harmonic complex tones with several lower partials removed (residual sounds). The data show that the percentage of correct chroma recognitions decreases as the lowest physically existent harmonic in the spectrum is moved higher. According to our underlying hypothesis the percentage of correct chroma recognitions corresponds to the pitch strength of the investigated tones. The present results are compared with pitch strength values derived in an experiment reported by Houtsma and Smurzynski (1990) for tones same as those used in this study but investigated with the use of a different method which consisted in identification of musical intervals between two successive tones. For sounds comprising only harmonics of very high order the new method yields a very low pitch recognition level of about 20% while identification of musical intervals remains stable at a level of about 60%.
    Źródło:
    Archives of Acoustics; 2010, 35, 3; 331-347
    0137-5075
    Pojawia się w:
    Archives of Acoustics
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Investigating the pitch strength of short pur e-tone pulses in middle frequency range through their chroma recognition by absolute-pitch listeners
    Autorzy:
    Rakowski, Andrzej
    Rogowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/780313.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    pitch
    absolute pitch
    pitch strength
    chroma
    musical scale
    vibrations
    tone pulses
    Opis:
    A method is proposed for estimating the pitch strength of sounds by measuring the proportion of correct recognitions of their musical pitch (chroma) by expert listeners possessing full absolute pitch. Full absolute pitch (AP) is the ability of some musicians to preserve in their long-term auditory memory the pitch templates of the twelve chromatic tones of the contemporary music system (C, C#, D... etc.) based on the frequency A4 = 440 Hz. This ability is preserved across different octaves in most of the musical pitch scale. Five expert AP listeners, in individual, computer-run sessions, were asked to identify and name the pitch chromas of short tone pulses cut out of twelve sinusoidal vibrations corresponding to the chromatic scale C5 - B5 (523.3 - 987.8 Hz). These tone pulses were composed of n cycles. The value of n was 4, 8, and 16, and so the total number of stimuli investigated was 12 x 3 = 36. All these stimuli were presented in random order to the five AP listeners in a single test, which was run twenty-six times in consecutive sessions (the results of the first session were not used in computations). The results show an increase in correct chroma recognition (and consequently of the pitch strength of a pulse), with n rising from 4 to 16. At n = 4 or 8, the results show also a dependence of chroma recognition on the total pulse duration. Thus, for tone pulses with a low number of cycles (at n=4 and 8), the pitch strength diminishes with increasing pitch and is different in neighbouring parts of a withinoctave musical scale. The discovery of these differences may indicate the relatively high precision of the newly-presented method in estimating the pitch strength of musical sounds.
    Źródło:
    Interdisciplinary Studies in Musicology; 2009, 8; 271-278
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Słuch absolutny — symptomem zdolności muzycznych i poznawczych?
    Absolute Pitch — an indication of musical and cognitive abilities?
    Autorzy:
    Kozłowska-Lewna, Alicja
    Powiązania:
    https://bibliotekanauki.pl/articles/521958.pdf
    Data publikacji:
    2013
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    music education
    ear training
    absolute pitch
    cognitive abilities
    Opis:
    The aim of this paper is to present latest studies on absolute pitch conducted over the past ten years. The author respectively discusses: results of the research on the origins of absolute pitch, relationship between absolute pitch and musical skills, dependence of the development of absolute pitch on applied aural training methods, anatomical and neural foundations of this ability, as well as infl uence of absolute pitch on the progress of other cognitive abilities. In conclusion the author submits: the key causes for the development of absolute pitch ability lay in innate predispositions (either genetic or stimulated in the prenatal period) — which manifest themselves in the asymmetry between left and right planum temporale — as well as in skills acquired by early musical practice combined with absolute method of ear training. It appears that using tonal languages is benefi cial for the development of absolute pitch. It has been proven that the ability of absolute pitch correlates with profi ciency in performing musical tasks. Examining brains of people with absolute hearing abilities shows that they have better developed circumferential networks, grey matter, greater thickness of cerebral cortex and improved white matter connectivity, what results in more effi cient networking between various areas of brain, better „small-world” functional networking and memory. Ability of absolute pitch can be understood as a phenomenon of unique perceptual enhancement, useful for the examination of brain plasticity.
    Źródło:
    Aspekty Muzyki; 2013, 3; 59-82
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Absolute pitch in persons with visual impairments
    Badania nad zdolnością do słyszenia absolutnego osób niewidomych
    Autorzy:
    Wiśniewska, Milena
    Powiązania:
    https://bibliotekanauki.pl/articles/521996.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    research of music abilities in blind people
    absolute pitch
    badanie poziomu zdolności muzycznych u osób niewidomych
    słuch absolutny
    Opis:
    This paper focuses on absolute pitch (AP) in the blind. The article is based on the research conducted by Roy Hamilton and Nadine Gaap, as well as the author’s own experience which suggest a higher prevalence of the AP in the blind than in the population at large. Thus, the main purpose of the paper was the study of this phenomenon, as well as an attempt at isolating factors contributing to the development of AP in the blind. The following hypotheses were formulated: H1: There is a larger proportion of AP-endowed blind, as compared with the sighted. H2: The critical period for the rise of AP does not apply to the blind. H3: The AP among the blind is not dependent on continuous music practice. H4: The AP in the blind does not directly depend on the duration of their musical education. H5: The family circumstances and early exposure to music may be factors contributing to the development of AP in the blind. Test for Absolute Pitch prepared by Diana Deutsch and the author’s survey comprising 21 questions were used as research tools. Thirty blind subjects took part in the study. Out of 30 subjects, as many as 14 (46.7%) were identified as endowed with AP. Out of these, 10 did not make any mistake in identifying all the pitches, despite the fact that the participants had a varying degree of musical education and knowledge about music. Four of the above-mentioned hypotheses were confirmed, with only one, that on the critical period in the rise of AP in the blind (H2), was falsified.
    Przedmiotem artykułu jest zdolność do absolutnego słyszenia u osób niewidomych. Punktem wyjścia dla podjętych rozważań stały się doniesienia Roya Hamiltona oraz Nadine Gaap, a także własne obserwacje autorki o częstszym — niż w normalnej populacji — występowaniu słuchu absolutnego u niewidomych. Głównym celem pracy stało się zatem zbadanie tego zjawiska, a także próba wskazania czynników mających na nie wpływ. Sformułowano następujące hipotezy badawcze: H1: Wśród niewidomych większy, niż wśród widzących jest procent osób posiadających słuch absolutny. H2: U niewidomych nie obserwuje się okresu krytycznego przy powstawaniu słuchu absolutnego. H3: Zdolność do słyszenia absolutnego u osób niewidomych nie jest zależna od ciągłej praktyki muzycznej. H4: Zdolność do absolutnego słyszenia u osób niewidomych nie zależy w sposób bezpośredni od czasu kształcenia muzycznego. H5: Środowisko rodzinne i obcowanie z muzyką od wczesnego dzieciństwa mogą być czynnikami wpływającymi bezpośrednio na wykształcenie się słuchu absolutnego u niewidomych. Jako narzędzia badawcze wykorzystano test słuchu absolutnego (ang. Test for Absolute Pitch) Diany Deutsch oraz kwestionariusz autorski składający się z 21 pytań. W badaniu wzięło udział 30 niewidomych. Na trzydziestu badanych aż czternastu (46,7%) zostało zakwalifikowanych jako posiadacze słuchu absolutnego, przy czym dziesięciu z nich nie popełniło żadnego błędu w identyfikacji słyszanych wysokości, mimo że w badanej grupie znajdowały się osoby o bardzo zróżnicowanym poziomie muzycznego wykształcenia i wiedzy w tym zakresie. Potwierdzono słuszność czterech sformułowanych wyżej hipotez. Nie potwierdziła się jedynie hipoteza o niewystępowaniu okresu krytycznego w kształtowaniu się zdolności do słyszenia absolutnego u osób niewidomych.
    Źródło:
    Aspekty Muzyki; 2018, 8; 263-284
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

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