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2001/3/3

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/

/e/250Hz2000Hz2600Hz /e/ formant

formant


formant


psychoacoustics virtual
pitch

spectral pitch
virtual pitch
E. Terhardt 19741978 3

FFT

virtual pitch

virtual pitch

virtual pitch Terhardt1982 virtual pitch

spectral pitch Zwicker1999:111-124

virtual pitchpure tone

spectral pitchWard1982Miyazaki1989

4
5
schema
Krumhansl1991 6

auditory cortex
Zatorre1988
Zatorre1991
Zatorre1998

dorsolateral frontal cortex
conditional associative learning

inferior frontal cortex




7
4

temperate lobe
Milner1962Zatorre1988Johnsrude2000

Spatial-temporal versus language-analytic reasoning: the role of music training.


(http://www.educationthroughmusic.com/musicbrain.htm)

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

V, 3(v): Early development: Perception in infancy


& beyond Rice1990

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

Abraham, O. (1901/1902). Das absolute Tonbewusein. In: Sammelband der internationalen


Musikgesellschaft, 3, 1-86.
Baharloo, S., Johnston, P. A., Service, S. K., Gitschier, J. & Freimer, N. B. (1998). Absolute pitch: An
approach for identification of genetic and nongenetic components. American Journal of Human
Genetics, 62, 224-231.
Chouard, C.-H. & Sposetti, R. (1990). Contribution a l'tude de l'oreille absolute. Annals Oto-RhinoLaryngology, 107, 371-376.
Copp, E. F. (1916). Musical ability. Journal of Heredity, 7, 297-305.
Costall, A. (1985). The relative of absolute pitch. In: Howell, P., Cross, I. & West, R. (Hrsg.), Musical
structure and cognition (S.189-208), London: Academic Press.
Crozier, J. B., Robinson, E. A. & Ewing, V. (1977). L'tiologie de l'oreille absolute. Bulletin de
Psychologie, 30, 792-803.
D'Amato, M. R. (1987/1988). A search for tonal pattern perception in cebus monkeys: Why monkeys
can't hum a tune. Music Perception, 5, 453-480.
Davidson, L. (1994). Songsinging by young and old: a developmental approach to music. In: Aiello, R.
with Sloboda, J. A., Musical Perceptions, Oxford, 99-130.
Gregersen, P. K. (1998). Instant recognition: the genetics of pitch perception. American Journal of
Medical Genetics, 62, 221-223.
Heaton, C. P. (1992). Air Ball: Spontaneous large-group precision chanting. Popular Music and Society,
16(1), 81-84.
Hirata, Y., Kuriki, S. & Pantev, C. (1999). Musicians with absolute pitch show distinct neural activities
in the auditory cortex. NeuroReport, 10, 999-1002.
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(Mimus, Molothrus, and Sturnus ). Journal of Comparative Psychology , 99, 176-196.
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und Hren. Diss. Bern: Psycholog. Inst. der Univ.

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.
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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.
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perception of auditory patterns. Child Development, 58, 741-749.
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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.
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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
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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/

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