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BBC 2001 2 20
J. Saffran
absolute pitch
70%
40%HurniSchlegel1983Miyazaki1988
Profita1988
perfect pitch
Hz
C. Stump1883
Lang1993Rvsz 1913Meyer1899Abraham1901/1902
Copp1916
1
Gregerson1998
relative
pitch Hurni-Schlegel1983
Costall1985
Verlernen lernen ver
Verlernen
1 Prgung
95% 5%Sergeant1969
Crozier1977
Fourier transformation
spectrum
oval window
20000Hzapex
20Hz
/a//e//i//o//u/
/e/ 250Hz2000Hz 2600Hz formant
formant formant
K. Lorenz
Lorenz Lorenz imprinting
K. Lorenz
20%Chouard1990
/e//e/
/a/ 250Hz2000Hz 2600Hz
/e/
formant
formant
psychoacoustics virtual
pitch
spectral pitch
virtual pitch
E. Terhardt 19741978 3
FFT
virtual pitch
virtual pitch
spectral pitchWard1982Miyazaki1989
4
5
schema
Krumhansl1991 6
auditory cortex
Zatorre1988
Zatorre1991
Zatorre1998
dorsolateral frontal cortex
conditional associative learning
temperate lobe
Milner1962Zatorre1988Johnsrude2000
G. Schlaug 1995
magnetic resonance imaging
PTplanum temperate PT
Schlaug1995
PT
Hirata1999 Schlaug Zatorre 1998Schlaug
2000
PT
formant
intonation
tone language
animal bioacoustics
Hulse1985D'Amato1987/1988Tooze1990
9
Hulse1988 10
PT
PT Chen2000
8
D. Deutsch
Deutsch 1999
10
Richards1984
Hulse1986
11
12
inner and outer hair cells
feedback
otoacoustic emission
otoacoustic emission
Chouard1990 otoacoustic emission
13
14
11
12
O. Sacks
13
Takeuchi1993
Trehub1987
14
Grove
psychology of music
S. E. Trehub
Gartner1993
440Hz La La
sematic
spatial
Saffran
15
16
YAMAHA
......
......
Slonimsky1988
15
16
Wolfgang Auhagen
Periodendauernanalyse
virtual pitch
virtual pitch
Kirnberger
m itteltnig
a'=415Hz a'=439Hz
a'=440Hz 445Hz
a'=415Hz a'=445Hz
Johnsrude, I. J., Penhune, V. B., & Zatorre, R. J. (2000). Functional specificity in right human auditory
cortex for perceiving pitch direction. Brain, 123, 155-163.
Krumhansl, C. L. (1991). Music psychology: Tonal structures in perception and memory. Annual Review
of Psychology, 42, 277-303.
Lang, A. (1993). Absolutes Gehr. In: Bruhn, H., Oerter, R. & Rsing, H., Musikpsychologie. Ein
Handbuch. Hamburg: Reinbek, 558-564.
Marvin, E. W. & Brinkman, A. R. (2000). The effect of key color and timbre on absolute pitch
recognition in musical contexts. Music Perception, 18, 111-137.
Milner, B. (1962). Laterality effects in audition. In: Mountcastle, V. B., Interhemispheric Relations and
Cerebral Dominance, Baltimore, 177-195.
Meyer, M. (1899). Is the memory of absolute pitch capable of development by training? Psychological
Review, 6, 514-516.
Miyazaki, K. (1988). Musical pitch identification by absolute pitch possesors. Perception &
Psychophysics, 44, 501-512.
Miyazaki, K. (1989). Absolute pitch identification - effects of timbre and pitch region. Music
Perception, 7, 1-14.
Peretz, I. & others. (1994). Functional dissociations following bilateral lesions of auditory cortex. Brain,
134, 1283-1301
Profita, J. & Bidder T. G. (1988). Perfect pitch. American Journal of Medical Genetics, 29, 763-771.
Rvsz, G. (1913). Zur Grundlegung der Tonpsychologie . Leipzig: Veit.
Schlaug, G. (1995). In vivo evidence of structural brain asymmetry in musicians, Science, 267, 699-701.
Sergeant, D. (1969). Experimental investigation of absolute pitch. Journal of Research in Musical
Education, 17, 135-143.
Slonimsky, N. (1988). Perfect Pitch: A Life Story . Oxford.
Takeuchi, A. H. & Hulse, S. H. (1993). Absolute pitch. Psychological Bulletin, 113, 345-361.
Trehub, S. E., Thorpe, L. A. & Morrongiello, B. A. (1987). Organizational processes in infants'
perception of auditory patterns. Child Development, 58, 741-749.
Terhardt, E. (1974). Pitch, consonance and harmony. Journal of Acoustical Society America , 55, 10611069.
Terhardt, E. (1978). Psychoacoustic evaluation of musical sounds. Perception & Psychophysics , 23, 483492.
Terhardt, E., Stoll, G. & Seewann, M. (1982). Pitch of complex signals according to virtual-pitch theory:
Tests, examples, and predictions. Journal of Acoustical Society America , 71, 671-678.
Tooze, Z. J., Harrington, F. H. & Fentress, J. C. (1990). Individually distinct vocalizations in timbre
wolves 'canis lupus'. Animal Behaviour, 11, 723-730.
Ward, W. D. & Burns, E. M. (1982). Absolute pitch. In: Deutsch, D. (Hrsg.), The Psychology of Music .
New York: Academic Press.
Zatorre, R. J. (1988). Pitch perception of complex tones and human temporal-lobe function. Journal of
Acoustical Society America, 84, 566-572.
Zatorre, R. J. & Samson, S. (1991). Role of the right temporal neocortex in retention of pitch in auditory
short-term memory. Brain, 114, 2403-2417.
Zatorre, R. J. & others. (1996). Hearing in the mind's ear: A PET investigation of musical imagery and
perception. Journal of Cognitive Neuroscience. 8, 29-46.
Zatorre, R. J., Perry, D. W., Beckett, C. A., Westbury, C. F., & Evans, A. C. (1998). Functional anatomy
of musical processing in listeners with absolute pitch and relative pitch. Proceedings of the National
Academy of Sciences (U.S.A.), 95, 3172-3177.
Zwicker, E. & Fastl, H. (1999). Psychoacoustics . Berlin: Springer.
BBC News, 20/02/2001, 09:18 GMT. Perfect pitch may help babies speak.
http://news.bbc.co.uk/hi/english/in_depth/sci_tech/2001/san_francisco/newsid_1179000/1179664.stm
Chi Chen, Andrea Halpern, Ben Bly, Robert Edelman, Gottfried Schlaug. (2000). Planum Temporale
Asymmetry And Absolute Pitch. http://www.academicpress.com/www/journal/hbm2000/7233.html
Diana Deutsch, Trevor Henthorn, Mark Dolson. (1999). Tone Language Speakers Possess Absolute
Pitch. http://www.acoustics.org/138th/deutsch.htm
Perfect Pitch on the Internet. http://www.provide.net/~bfield/abs_pitch.html
Robert Zatorre's Homepage. http://www.zlab.mcgill.ca/