音乐绝对音高行为研究述评

音乐绝对音高(musical absolute pitch,AP)能力是一种敏锐的乐音音高知觉分类和记忆能力,表现为在没有任何其它音高参照的情况下,能够对所听到乐音音高进行准确命名或分类。本文从音乐绝对音高甄别方法、基因遗传、早期音乐训练、语言环境对音乐绝对音高能力形成的影响,以及绝对音高与音乐能力、音乐记忆和空间能力方面的研究进行了介绍,提出研究音乐绝对音高的重要性。最后展望了音乐绝对音高领域未来可能的四个研究方向。     

Do musicians with perfect pitch have more autism traits than musicians without perfect pitch? An empirical study

Perfect pitch, also known as absolute pitch (AP), refers to the rare ability to identify or produce a musical tone correctly without the benefit of an external reference. AP is often considered to reflect musical giftedness, but it has also been associated with certain disabilities due to increased prevalence of AP in individuals with sensory and developmental disorders. Here, we determine whether individual autistic traits are present in people with AP. We quantified subclinical levels of autism traits using the Autism-Spectrum Quotient (AQ) in three matched groups of subjects: 16 musicians with AP (APs), 18 musicians without AP (non-APs), and 16 non-musicians. In addition, we measured AP ability by a pitch identification test with sine wave tones and piano tones. We found a significantly higher degree of autism traits in APs than in non-APs and non-musicians, and autism scores were significantly correlated with pitch identification scores (r = .46, p = .003). However, our results showed that APs did not differ from non-APs on diagnostically crucial social and communicative domain scores and their total AQ scores were well below clinical thresholds for autism. Group differences emerged on the imagination and attention switching subscales of the AQ. Thus, whilst these findings do link AP with autism, they also show that AP ability is most strongly associated with personality traits that vary widely within the normal population.     

Absolute pitch: effects of timbre on note-naming ability

Background

Absolute pitch (AP) is the ability to identify or produce isolated musical tones. It is evident primarily among individuals who started music lessons in early childhood. Because AP requires memory for specific pitches as well as learned associations with verbal labels (i.e., note names), it represents a unique opportunity to study interactions in memory between linguistic and nonlinguistic information. One untested hypothesis is that the pitch of voices may be difficult for AP possessors to identify. A musician''s first instrument may also affect performance and extend the sensitive period for acquiring accurate AP.

Methods/Principal Findings

A large sample of AP possessors was recruited on-line. Participants were required to identity test tones presented in four different timbres: piano, pure tone, natural (sung) voice, and synthesized voice. Note-naming accuracy was better for non-vocal (piano and pure tones) than for vocal (natural and synthesized voices) test tones. This difference could not be attributed solely to vibrato (pitch variation), which was more pronounced in the natural voice than in the synthesized voice. Although starting music lessons by age 7 was associated with enhanced note-naming accuracy, equivalent abilities were evident among listeners who started music lessons on piano at a later age.

Conclusions/Significance

Because the human voice is inextricably linked to language and meaning, it may be processed automatically by voice-specific mechanisms that interfere with note naming among AP possessors. Lessons on piano or other fixed-pitch instruments appear to enhance AP abilities and to extend the sensitive period for exposure to music in order to develop accurate AP.     

Absolute pitch: an approach for identification of genetic and nongenetic components.

Absolute pitch (AP) is the ability to recognize a pitch, without an external reference. By surveying more than 600 musicians in music conservatories, training programs, and orchestras, we have attempted to dissect the influences of early musical training and genetics on the development of this ability. Early musical training appears to be necessary but not sufficient for the development of AP. Forty percent of musicians who had begun training at <=4 years of age reported AP, whereas only 3% of those who had initiated training at >=9 years of age did so. Self-reported AP possessors were four times more likely to report another AP possessor in their families than were non-AP possessors. These data suggest that both early musical training and genetic predisposition are needed for the development of AP. We developed a simple computer-based acoustical test that has allowed us to subdivide AP possessors into distinct groups, on the basis of their performance. Investigation of individuals who performed extremely well on this test has already led us to identify several families that will be suitable for studies of the genetic basis of AP.     

Genome-wide Study of Families with Absolute Pitch Reveals Linkage to 8q24.21 and Locus Heterogeneity

Absolute pitch (AP) is the rare ability to instantaneously recognize and label tones with their musical note names without using a reference pitch for comparison. The etiology of AP is complex. Prior studies have implicated both genetic and environmental factors in its genesis, yet the molecular basis for AP remains unknown. To locate regions of the human genome that may harbor AP-predisposing genetic variants, we performed a genome-wide linkage study on 73 multiplex AP families by genotyping them with 6090 SNP markers. Nonparametric multipoint linkage analyses were conducted, and the strongest evidence for linkage was observed on chromosome 8q24.21 in the subset of 45 families with European ancestry (exponential LOD score = 3.464, empirical genome-wide p = 0.03). Other regions with suggestive LOD scores included chromosomes 7q22.3, 8q21.11, and 9p21.3. Of these four regions, only the 7q22.3 linkage peak was also evident when 19 families with East Asian ancestry were analyzed separately. Though only one of these regions has yet reached statistical significance individually, we detected a larger number of independent linkage peaks than expected by chance overall, indicating that AP is genetically heterogeneous.     

Electromagnetic correlates of musical expertise in processing of tone patterns

Using magnetoencephalography (MEG), we investigated the influence of long term musical training on the processing of partly imagined tone patterns (imagery condition) compared to the same perceived patterns (perceptual condition). The magnetic counterpart of the mismatch negativity (MMNm) was recorded and compared between musicians and non-musicians in order to assess the effect of musical training on the detection of deviants to tone patterns. The results indicated a clear MMNm in the perceptual condition as well as in a simple pitch oddball (control) condition in both groups. However, there was no significant mismatch response in either group in the imagery condition despite above chance behavioral performance in the task of detecting deviant tones. The latency and the laterality of the MMNm in the perceptual condition differed significantly between groups, with an earlier MMNm in musicians, especially in the left hemisphere. In contrast the MMNm amplitudes did not differ significantly between groups. The behavioral results revealed a clear effect of long-term musical training in both experimental conditions. The obtained results represent new evidence that the processing of tone patterns is faster and more strongly lateralized in musically trained subjects, which is consistent with other findings in different paradigms of enhanced auditory neural system functioning due to long-term musical training.     

The Pitch Imagery Arrow Task: Effects of Musical Training,Vividness, and Mental Control

Musical imagery is a relatively unexplored area, partly because of deficiencies in existing experimental paradigms, which are often difficult, unreliable, or do not provide objective measures of performance. Here we describe a novel protocol, the Pitch Imagery Arrow Task (PIAT), which induces and trains pitch imagery in both musicians and non-musicians. Given a tonal context and an initial pitch sequence, arrows are displayed to elicit a scale-step sequence of imagined pitches, and participants indicate whether the final imagined tone matches an audible probe. It is a staircase design that accommodates individual differences in musical experience and imagery ability. This new protocol was used to investigate the roles that musical expertise, self-reported auditory vividness and mental control play in imagery performance. Performance on the task was significantly better for participants who employed a musical imagery strategy compared to participants who used an alternative cognitive strategy and positively correlated with scores on the Control subscale from the Bucknell Auditory Imagery Scale (BAIS). Multiple regression analysis revealed that Imagery performance accuracy was best predicted by a combination of strategy use and scores on the Vividness subscale of BAIS. These results confirm that competent performance on the PIAT requires active musical imagery and is very difficult to achieve using alternative cognitive strategies. Auditory vividness and mental control were more important than musical experience in the ability to perform manipulation of pitch imagery.     

Defining the biological bases of individual differences in musicality

Advances in molecular technologies make it possible to pinpoint genomic factors associated with complex human traits. For cognition and behaviour, identification of underlying genes provides new entry points for deciphering the key neurobiological pathways. In the past decade, the search for genetic correlates of musicality has gained traction. Reports have documented familial clustering for different extremes of ability, including amusia and absolute pitch (AP), with twin studies demonstrating high heritability for some music-related skills, such as pitch perception. Certain chromosomal regions have been linked to AP and musical aptitude, while individual candidate genes have been investigated in relation to aptitude and creativity. Most recently, researchers in this field started performing genome-wide association scans. Thus far, studies have been hampered by relatively small sample sizes and limitations in defining components of musicality, including an emphasis on skills that can only be assessed in trained musicians. With opportunities to administer standardized aptitude tests online, systematic large-scale assessment of musical abilities is now feasible, an important step towards high-powered genome-wide screens. Here, we offer a synthesis of existing literatures and outline concrete suggestions for the development of comprehensive operational tools for the analysis of musical phenotypes.     

ABSOLUTE AND RELATIVE PITCH PRODUCTION IN THE SONG OF THE WHITE-THROATED SPARROW (ZONO TRICHIA ALBICOLLIS)

ABSTRACT

The songs of white-throated sparrows consist of 5 notes of very pure tonal quality. In ascending song, the pitch increases substantially from Note 1 to Note 2; whereas, in descending song, pitch decreases substantially from Note 2 to Note 3. Variability in the absolute pitch of each note is considerable among birds, but much less within individuals. Analysis of the major pitch changes in these songs shows that the pitch interval (ratio of the higher to the lower frequency), a measure of relative pitch constancy, predicts the frequency of the higher note in the pitch change more precisely than does the difference between the frequencies of the two notes, a measure of absolute pitch constancy. We conclude that white-throated sparrows produce relative rather than absolute pitch constancy during the major frequency changes in their songs and suggest that pitch interval may be an important cue in species recognition.     

Processing of complex auditory patterns in musicians and nonmusicians

In the present study we investigated the capacity of the memory store underlying the mismatch negativity (MMN) response in musicians and nonmusicians for complex tone patterns. While previous studies have focused either on the kind of information that can be encoded or on the decay of the memory trace over time, we studied capacity in terms of the length of tone sequences, i.e., the number of individual tones that can be fully encoded and maintained. By means of magnetoencephalography (MEG) we recorded MMN responses to deviant tones that could occur at any position of standard tone patterns composed of four, six or eight tones during passive, distracted listening. Whereas there was a reliable MMN response to deviant tones in the four-tone pattern in both musicians and nonmusicians, only some individuals showed MMN responses to the longer patterns. This finding of a reliable capacity of the short-term auditory store underlying the MMN response is in line with estimates of a three to five item capacity of the short-term memory trace from behavioural studies, although pitch and contour complexity covaried with sequence length, which might have led to an understatement of the reported capacity. Whereas there was a tendency for an enhancement of the pattern MMN in musicians compared to nonmusicians, a strong advantage for musicians could be shown in an accompanying behavioural task of detecting the deviants while attending to the stimuli for all pattern lengths, indicating that long-term musical training differentially affects the memory capacity of auditory short-term memory for complex tone patterns with and without attention. Also, a left-hemispheric lateralization of MMN responses in the six-tone pattern suggests that additional networks that help structuring the patterns in the temporal domain might be recruited for demanding auditory processing in the pitch domain.     

Musical Expertise and the Ability to Imagine Loudness

Most perceived parameters of sound (e.g. pitch, duration, timbre) can also be imagined in the absence of sound. These parameters are imagined more veridically by expert musicians than non-experts. Evidence for whether loudness is imagined, however, is conflicting. In music, the question of whether loudness is imagined is particularly relevant due to its role as a principal parameter of performance expression. This study addressed the hypothesis that the veridicality of imagined loudness improves with increasing musical expertise. Experts, novices and non-musicians imagined short passages of well-known classical music under two counterbalanced conditions: 1) while adjusting a slider to indicate imagined loudness of the music and 2) while tapping out the rhythm to indicate imagined timing. Subtests assessed music listening abilities and working memory span to determine whether these factors, also hypothesised to improve with increasing musical expertise, could account for imagery task performance. Similarity between each participant’s imagined and listening loudness profiles and reference recording intensity profiles was assessed using time series analysis and dynamic time warping. The results suggest a widespread ability to imagine the loudness of familiar music. The veridicality of imagined loudness tended to be greatest for the expert musicians, supporting the predicted relationship between musical expertise and musical imagery ability.     

Pitch related to spectral edges of broadband signals.

A complex tone often evokes a pitch sensation associated with its extreme spectral components, besides the holistic pitch associated with its fundamental frequency. We studied the edge pitch created at the upper spectral edge of complexes with a low-pass spectrum by asking subjects to adjust the frequency of a sinusoidal comparison tone to the perceived pitch. Measurements were performed for different values of the fundamental frequency and of the upper frequency of the complex as well as for three different phase relations of the harmonic components. For a wide range of these parameters the subjects could adjust the comparison tone with a high accuracy, measured as the standard deviation of repeated adjustments, to a frequency close to the nominal edge frequency. The detailed dependence of the matching accuracy on temporal parameters of the harmonic complexes suggests that the perception of the edge pitch in harmonic signals is related to the temporal resolution of the hearing system. This resolution depends primarily on the time constants of basilar-membrane filters and on additional limitations due to neuronal processes.     

Influence of Musical Training on Understanding Voiced and Whispered Speech in Noise

This study tested the hypothesis that the previously reported advantage of musicians over non-musicians in understanding speech in noise arises from more efficient or robust coding of periodic voiced speech, particularly in fluctuating backgrounds. Speech intelligibility was measured in listeners with extensive musical training, and in those with very little musical training or experience, using normal (voiced) or whispered (unvoiced) grammatically correct nonsense sentences in noise that was spectrally shaped to match the long-term spectrum of the speech, and was either continuous or gated with a 16-Hz square wave. Performance was also measured in clinical speech-in-noise tests and in pitch discrimination. Musicians exhibited enhanced pitch discrimination, as expected. However, no systematic or statistically significant advantage for musicians over non-musicians was found in understanding either voiced or whispered sentences in either continuous or gated noise. Musicians also showed no statistically significant advantage in the clinical speech-in-noise tests. Overall, the results provide no evidence for a significant difference between young adult musicians and non-musicians in their ability to understand speech in noise.     

Pitch lowering enhances men's perceived aggressive intent,not fighting ability

Voice pitch is the primary perceptual correlate of fundamental frequency (f_o) and describes how low or high a voice is perceived by listeners. Prior research showed that men whose habitual voice pitch is lower are perceived to have stronger fighting ability. However, voice pitch is also flexible and can thus be used facultatively to signal states that change situationally, such as current aggressive intent (i.e., readiness to use aggression). Drawing on motivation-structural-rules theory, this research tests the hypothesis that male speakers will be perceived as more likely to attack when they lower (compared to raise) their pitch to address an adversary in a conflict situation. Three experiments using male speakers and listeners supported this hypothesis, both with and without controlling for the perception of the speakers' fighting ability. In contrast, the same experiments found no evidence that pitch lowering enhanced the speakers' perceived fighting ability after controlling for their perceived aggressive intent. Moreover, we found mixed evidence that the speakers' perceived physical strength interacted with pitch modulation to influence their perceived aggressive intent. On balance, these findings show that, at least for men, pitch modulation is primarily an aggressive-intent signal assessed independently of signalers' fighting ability. Future research should distinguish between perceptions of aggressive-intent and fighting-ability when examining the perceptual effects of male voice-pitch modulation in intrasexual competition.     

Tone Language Speakers and Musicians Share Enhanced Perceptual and Cognitive Abilities for Musical Pitch: Evidence for Bidirectionality between the Domains of Language and Music

Psychophysiological evidence suggests that music and language are intimately coupled such that experience/training in one domain can influence processing required in the other domain. While the influence of music on language processing is now well-documented, evidence of language-to-music effects have yet to be firmly established. Here, using a cross-sectional design, we compared the performance of musicians to that of tone-language (Cantonese) speakers on tasks of auditory pitch acuity, music perception, and general cognitive ability (e.g., fluid intelligence, working memory). While musicians demonstrated superior performance on all auditory measures, comparable perceptual enhancements were observed for Cantonese participants, relative to English-speaking nonmusicians. These results provide evidence that tone-language background is associated with higher auditory perceptual performance for music listening. Musicians and Cantonese speakers also showed superior working memory capacity relative to nonmusician controls, suggesting that in addition to basic perceptual enhancements, tone-language background and music training might also be associated with enhanced general cognitive abilities. Our findings support the notion that tone language speakers and musically trained individuals have higher performance than English-speaking listeners for the perceptual-cognitive processing necessary for basic auditory as well as complex music perception. These results illustrate bidirectional influences between the domains of music and language.     

Psychoacoustic Assessment to Improve Tinnitus Diagnosis

The diagnosis of tinnitus relies on self-report. Psychoacoustic measurements of tinnitus pitch and loudness are essential for assessing claims and discriminating true from false ones. For this reason, the quantification of tinnitus remains a challenging research goal. We aimed to: (1) assess the precision of a new tinnitus likeness rating procedure with a continuous-pitch presentation method, controlling for music training, and (2) test whether tinnitus psychoacoustic measurements have the sensitivity and specificity required to detect people faking tinnitus. Musicians and non-musicians with tinnitus, as well as simulated malingerers without tinnitus, were tested. Most were retested several weeks later. Tinnitus pitch matching was first assessed using the likeness rating method: pure tones from 0.25 to 16 kHz were presented randomly to participants, who had to rate the likeness of each tone to their tinnitus, and to adjust its level from 0 to 100 dB SPL. Tinnitus pitch matching was then assessed with a continuous-pitch method: participants had to match the pitch of their tinnitus to an external tone by moving their finger across a touch-sensitive strip, which generated a continuous pure tone from 0.5 to 20 kHz in 1-Hz steps. The predominant tinnitus pitch was consistent across both methods for both musicians and non-musicians, although musicians displayed better external tone pitch matching abilities. Simulated malingerers rated loudness much higher than did the other groups with a high degree of specificity (94.4%) and were unreliable in loudness (not pitch) matching from one session to the other. Retest data showed similar pitch matching responses for both methods for all participants. In conclusion, tinnitus pitch and loudness reliably correspond to the tinnitus percept, and psychoacoustic loudness matches are sensitive and specific to the presence of tinnitus.     

Behavioral and Neural Correlates of Executive Functioning in Musicians and Non-Musicians

Executive functions (EF) are cognitive capacities that allow for planned, controlled behavior and strongly correlate with academic abilities. Several extracurricular activities have been shown to improve EF, however, the relationship between musical training and EF remains unclear due to methodological limitations in previous studies. To explore this further, two experiments were performed; one with 30 adults with and without musical training and one with 27 musically trained and untrained children (matched for general cognitive abilities and socioeconomic variables) with a standardized EF battery. Furthermore, the neural correlates of EF skills in musically trained and untrained children were investigated using fMRI. Adult musicians compared to non-musicians showed enhanced performance on measures of cognitive flexibility, working memory, and verbal fluency. Musically trained children showed enhanced performance on measures of verbal fluency and processing speed, and significantly greater activation in pre-SMA/SMA and right VLPFC during rule representation and task-switching compared to musically untrained children. Overall, musicians show enhanced performance on several constructs of EF, and musically trained children further show heightened brain activation in traditional EF regions during task-switching. These results support the working hypothesis that musical training may promote the development and maintenance of certain EF skills, which could mediate the previously reported links between musical training and enhanced cognitive skills and academic achievement.     

The Role of Emotion in Musical Improvisation: An Analysis of Structural Features

One of the primary functions of music is to convey emotion, yet how music accomplishes this task remains unclear. For example, simple correlations between mode (major vs. minor) and emotion (happy vs. sad) do not adequately explain the enormous range, subtlety or complexity of musically induced emotions. In this study, we examined the structural features of unconstrained musical improvisations generated by jazz pianists in response to emotional cues. We hypothesized that musicians would not utilize any universal rules to convey emotions, but would instead combine heterogeneous musical elements together in order to depict positive and negative emotions. Our findings demonstrate a lack of simple correspondence between emotions and musical features of spontaneous musical improvisation. While improvisations in response to positive emotional cues were more likely to be in major keys, have faster tempos, faster key press velocities and more staccato notes when compared to negative improvisations, there was a wide distribution for each emotion with components that directly violated these primary associations. The finding that musicians often combine disparate features together in order to convey emotion during improvisation suggests that structural diversity may be an essential feature of the ability of music to express a wide range of emotion.     

Co-variation of tonality in the music and speech of different cultures

Whereas the use of discrete pitch intervals is characteristic of most musical traditions, the size of the intervals and the way in which they are used is culturally specific. Here we examine the hypothesis that these differences arise because of a link between the tonal characteristics of a culture's music and its speech. We tested this idea by comparing pitch intervals in the traditional music of three tone language cultures (Chinese, Thai and Vietnamese) and three non-tone language cultures (American, French and German) with pitch intervals between voiced speech segments. Changes in pitch direction occur more frequently and pitch intervals are larger in the music of tone compared to non-tone language cultures. More frequent changes in pitch direction and larger pitch intervals are also apparent in the speech of tone compared to non-tone language cultures. These observations suggest that the different tonal preferences apparent in music across cultures are closely related to the differences in the tonal characteristics of voiced speech.     

The role of frequency modulation in controlling the response of mallard ducklings (Anas platyrhynchos) to conspecific distress calls

Three experiments examined the response of mallard ducklings to conspecific distress calls. In experiment 1, a synthetic call was constructed from a single distress note, by recording it on a digital disc and then using a software routine to regularly repeat this stored note with the average period (267 ms) of the original call. Ducklings were then tested for their tendency to inhibit their own distress vocalizations in response to either this synthetic call, the original call, or a constant-frequency tone mimic; they showed a significantly stronger inhibitory response to the synthetic call than to the tone mimic, but an even stronger response to the original call. The former result indicated that the synthetic call was an effective stimulus, and suggested that some aspect of the frequency modulation found in distress notes is required to evoke the normal duckling inhibitory response. The latter result further suggested that the acoustic variability found in the original call, but not the synthetic call, may be of importance for controlling duckling behaviour. Experiment 2 demonstrated that several other minor differences between the synthetic call and original call (number of notes per call and the digital recording of the synthetic call) could not account for the difference in duckling response to these two calls. Finally, in experiment 3, two additional synthetic stimuli were constructed from the digitized note, by first excising either the initial (front-chop) or terminal (rear-chop) frequency modulation found in each distress note, then creating amplitude envelopes for these new notes similar to that of the unaltered note, and finally repeating these notes to form calls with the same note period as the original call. The ducklings tested with the synthetic normal-note call and synthetic front-chop call showed a significantly stronger inhibitory response than the ducklings tested with the synthetic rear-chop call and the tone mimic. These results indicate that the terminal descending frequency sweep is an important feature of distress notes for triggering the response of ducklings to conspecific distress calls.