317:. This might seem to be a genetic difference; however, people of East Asian ancestry who are reared in North America are significantly less likely to develop absolute pitch than those raised in East Asia, so the difference is more probably explained by experience. The language that is spoken may be an important factor; many East Asians speak tonal languages such as Mandarin, Cantonese, and Thai, while others (such as those in Japan and certain provinces of Korea) speak pitch-accent languages, and the prevalence of absolute pitch may be partly explained by exposure to pitches together with meaningful musical labels very early in life.
257:). However, the brains of tonal-language speakers do not naturally process musical sound as language; such speakers may be more likely to acquire absolute pitch for musical tones when they later receive musical training. Many native speakers of a tone language, even those with little musical training, are observed to sing a given song with consistent pitch. Among music students of East Asian ethnic heritage, those who speak a tone language fluently have a higher prevalence of absolute pitch than those who do not speak a tone language.
328:, with claims estimating that up to 30% of autistic people have absolute pitch. A non-verbal piano-matching method resulted in a correlation of 97% between autism and absolute pitch, with a 53% correlation in non-autistic observers. However, the converse is not indicated by research which found no difference between those with absolute pitch and those without on measures of social and communication skills, which are core deficits in autistic spectrum disorders. Additionally, the absolute pitch group's
368:(VPA) "learned to identify pitch significantly better than those taking placebo—evidence that VPA facilitated critical-period learning in the adult human brain". However, no adult has ever been documented to have acquired absolute listening ability, because all adults who have been formally tested after AP training have failed to demonstrate "an unqualified level of accuracy... comparable to that of AP possessors".
212:. Most of the absolute listeners that were tested in this respect identified the C-major tones more reliably and, except for B, more quickly than the five "black key" tones, which corresponds to the higher prevalence of these tones in ordinary musical experiences. One study of Dutch non-musicians also demonstrated a bias toward using C-major tones in ordinary speech, especially on syllables related to emphasis.
190:; those who have been exposed to musical notes together with their names early in life may be more likely to identify the note C. Although it was once thought that it "might be nothing more than a general human capacity whose expression is strongly biased by the level and type of exposure to music that people experience in a given culture", absolute pitch may be influenced by genetic variation, possibly an
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or flat), a musician with absolute pitch may become confused upon perceiving tones believed to be "wrong" or hearing a piece of music "in the wrong key". The relative pitch of the notes may be in tune to each other, but out of tune to the standard pitch or pitches the musician is familiar with or perceives as correct. This can especially apply to
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Musicians with absolute perception may experience difficulties which do not exist for other musicians. Because absolute listeners are capable of recognizing that a musical composition has been transposed from its original key, or that a pitch is being produced at a nonstandard frequency (either sharp
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strategies favor global and relational processing. Proponents of the critical-period theory agree that the presence of absolute pitch ability is dependent on learning, but there is disagreement about whether training causes absolute skills to occur or lack of training causes absolute perception to be
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lower than the ISO standard for concert A), while other recordings of
Baroque pieces (especially those of French Baroque music) are performed at 392 Hz. Historically, tuning forks for concert A used on keyboard instruments (which ensembles tune to when present), have varied widely in frequency,
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population. Many studies have examined pitch abilities in autism, but not rigidly perfect pitch, which makes them controversial. It is unclear just how many people with autism have perfect pitch because of this. In a 2009 study, researchers studied 72 teenagers with autism and found that 20 percent
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or whose frequencies do not match standard 12-tone equal temperament. It is also possible for some musicians to have displaced absolute pitch, where all notes are slightly flat or slightly sharp of their respective pitch as defined by a given convention. This may arise from learning the pitch names
132:
Scientific studies of absolute pitch commenced in the 19th century, focusing on the phenomenon of musical pitch and methods of measuring it. It would have been difficult for the notion of absolute pitch to have formed earlier because pitch references were not consistent. For example, the note known
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While very few people have the ability to name a pitch with no external reference, pitch memory can be activated by repeated exposure. People who are not skilled singers will often sing popular songs in the correct key, and can usually recognize when TV themes have been shifted into the wrong key.
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Absolute pitch is not a prerequisite for skilled musical performance or composition. However, there is evidence that musicians with absolute pitch tend to perform better on musical transcription tasks (controlling for age of onset and amount of musical training) compared to those without absolute
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Researchers have been trying to teach absolute pitch ability in laboratory settings for more than a century, and various commercial absolute-pitch training courses have been offered to the public since the early 1900s. In 2013, experimenters reported that adult men who took the antiseizure drug
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An absolute listener's sense of hearing is typically no keener than that of a non-absolute ("normal") listener. Absolute pitch does not depend upon a refined ability to perceive and discriminate gradations of sound frequencies, but upon detecting and categorizing a subjective perceptual quality
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is the set of all pitches that are a whole number of octaves apart. While the boundaries of musical pitch categories vary among human cultures, the recognition of octave relationships is a natural characteristic of the mammalian auditory system. Accordingly, absolute pitch is not the ability to
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Physically and functionally, the auditory system of an absolute listener evidently does not differ from that of a non-absolute listener. Rather, "it reflects a particular ability to analyze frequency information, presumably involving high-level cortical processing." Absolute pitch is an act of
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Adults who possess relative pitch but do not already have absolute pitch can learn "pseudo-absolute pitch" and become able to identify notes in a way that superficially resembles absolute pitch. Some people have been able to develop accurate pitch identification in adulthood through training.
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convention of the late 19th and early 20th centuries, as opposed to the modern Euro-American convention for concert A = 442 Hz). Concert pitches have shifted higher for a brighter sound. When playing in groups with other musicians, this may lead to playing in a tonality that is slightly
252:
have been reported to speak a word in the same absolute pitch (within a quarter-tone) on different days; it has therefore been suggested that absolute pitch may be acquired by infants when they learn to speak a tonal language (and possibly also by infants when they learn to speak a
58:. AP may be demonstrated using linguistic labelling ("naming" a note), associating mental imagery with the note, or sensorimotor responses. For example, an AP possessor can accurately reproduce a heard tone on a musical instrument without "hunting" for the correct
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are required to memorize each composition in a fixed key and play it from memory on their instrument, but they are not required to sing. When tested, these students did not succeed in singing the memorized Suzuki songs in the original, fixed key.
2605:"Ethnicity versus Early Environment: Comment on 'Early childhood music education and predisposition to absolute pitch: Teasing apart genes and environment' by Peter K. Gregersen, Elena Kowalsky, Nina Kohn, and Elizabeth West Marvin (2000)"
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typically referred to as "chroma". The two tasks— of identification (recognizing and naming a pitch) and discrimination (detecting changes or differences in rate of vibration)— are accomplished with different brain mechanisms.
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Variances in the sizes of intervals for different keys and the method of tuning instruments also can affect musicians in their perception of correct pitch, especially with music synthesized digitally using alternative tunings
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pitch. It was previously argued that musicians with absolute pitch perform worse than those without absolute pitch on recognition of musical intervals; however, experiments on which this conclusion was based contained an
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The frequency of AP in the general population is not known. A proportion of 1 in 10,000 is widely reported, but not supported by evidence; a 2019 review indicated a prevalence of at least 4% amongst music students.
166:, needing memory of the frequency, a label for the frequency (such as "B-flat"), and exposure to the range of sound encompassed by that categorical label. Absolute pitch may be directly analogous to recognizing
855:
AP and RP are actually very different modes of musical pitch processing, having incompatible features, and therefore it may be possible that one can interfere the development of the other, and vice versa.
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different from that of the rest of the group, such as when soloists tune slightly sharp of the rest of the ensemble to stand out or to compensate for loosening strings during longer performances.
465:. They may associate certain notes or keys with different colors, enabling them to tell what any note or key is. In this study, about 20% of people with absolute pitch are also synesthetes.
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115:, relative pitch identifies an interval directly by its sound. Absolute pitch may complement relative pitch in musical listening and practice, but it may also influence its development.
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as 'A' varied in different local or national musical traditions between what is considered as G sharp and B flat before the standardisation of the late 19th century. While the term
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Cetas, J.S.; Velenovsky, D.S.; Price, R.O.; Sinex, D.G.; McMullen, N.T. (2001). "Frequency organization and cellular lamination in the medial geniculate body of the rabbit".
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estimate a pitch value from the dimension of pitch-evoking frequency (30–5000 Hz), but to identify a pitch class category within the dimension of pitch class (e.g., C-C
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Lau, C.K. (2004). "The acquisition of absolute pitch for the mainstreamed, special educational needs and academically talented under Lau Chiu Kay Music
Educatherapy".
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Chin, C. (2003). "The
Development of Absolute Pitch: A Theory Concerning the Roles of Music Training at an Early Developmental Age and Individual Cognitive Style".
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Cetas, J.S.; Price, R.O.; Crowe, J.J.; Velenovsky, D.S.; McMullen, N.T. (2003). "Dendritic orientation and laminar architecture in the rabbit auditory thalamus".
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Wong, Alan C.-N.; Yip, Ken H. M.; Lui, Kelvin F. H.; Wong, Yetta
Kwailing (January 28, 2019). "Is it impossible to acquire absolute pitch in adulthood?".
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This phenomenon is apparently unrelated to musical training. The skill may be associated more closely with vocal production. Violin students learning the
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and, when this artifact was removed, absolute pitch possessors were found to perform better than nonpossessors on recognition of musical intervals.
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Zatorre, Robert (July 2003). "Absolute pitch: a model for understanding the influence of genes and development on neural and cognitive function".
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2499:"Absolute pitch among American and Chinese conservatory students: Prevalence differences, and evidence for a speech-related critical period"
1767:"Absolute pitch among American and Chinese conservatory students: Prevalence differences, and evidence for a speech-related critical period"
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could affect absolute pitch ability, a predisposition for learning the ability or signal the likelihood of its spontaneous occurrence.
268:, with four—may be better suited to study the role of absolute pitch in speech than the pitch and contour tone languages of East Asia.
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Gregersen, P.K.; Kowalsky, E.; Lee, A.; Baron-Cohen, S.; Fisher, S.E.; Asher, J.E.; Ballard, D.; Freudenberg, J. & Li, W. (2013).
141:, was in use by the late 19th century by both British and German researchers, its application was not universal; other terms such as
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Tervaniemi, M.; Alho, K.; Paavilainen, P.; Sams, M. & Näätänen, R. (1993). "Absolute pitch and event-related brain potentials".
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Frith, U. How
Cognitive Theories Can Help Us Explain Autism. Speech. UC Davis Mind Institute. Video available, 4/5 down the list:
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Evidence suggests that absolute pitch sense is influenced by cultural exposure to music, especially in the familiarization of the
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P. K. Gregersen; E. Kowalsky; N. Kohn; E. Marvin (2000). "Early childhood music education and predisposition to absolute pitch".
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of the teenagers had a significant ability to detect pitches. Children with autism are especially sensitive to changes in pitch.
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Carden, Jill; Cline, Tony (July 9, 2019). "Absolute pitch: Myths, evidence and relevance to music education and performance".
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Members of the Venda culture in South Africa also sing familiar children's songs in the key in which the songs were learned.
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Mottron, Laurent; Bouvet, Lucie; Bonnel, Anna; Samson, Fabienne; Burack, Jacob A.; Dawson, Michelle; Heaton, Pamela (2013).
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Heaton, P.; Hermelin, B. & Pring, L. (1998). "Autism and pitch processing: A precursor for savant musical ability".
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Imig, T.J.; Morel, A. (1985). "Tonotopic organization in ventral nucleus of medial geniculate body in the cat".
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Dohn, Anders; Garza-Villarreal, Eduardo A.; Heaton, Pamela; Vuust, Peter (May 30, 2012). Krueger, Frank (ed.).
431:. An absolute listener may also use absolute strategies for tasks which are more efficiently accomplished with
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Dooley, K. & Deutsch, D. (2010). "Absolute pitch correlates with high performance on musical dictation".
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Generally, absolute pitch implies some or all of these abilities, achieved without a reference tone:
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Oakes, W. F. (1955). "An experimental study of pitch naming and pitch discrimination reactions".
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Speakers of
European languages make subconscious use of an absolute pitch memory when speaking.
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Miyazaki, K. (1990). "The speed of musical pitch identification by absolute-pitch possessors".
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The prevalence of absolute pitch is higher among those who are blind from birth as a result of
249:
3754:
613:"Multiple coding strategies in the retention of musical tones by possessors of absolute pitch"
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Blacking, John (1995). "Music and
Historical Process in Vendaland". In Reginald Byron (ed.).
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Lenhoff, H. M.; Perales, O. & Hickok, G. (2001). "Absolute pitch in Williams syndrome".
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from an instrument that was tuned to a concert pitch convention other than the one in use (
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232:, which depend on pitch variation to distinguish words that otherwise sound the same—e.g.,
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Schellenberg, E. Glenn & Trehub, Sandra E. (2003). "Good pitch memory is widespread".
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Baharloo, S.; Johnston, P. A.; Service, S. K.; Gitschier, J. & Freimer, N. B. (1998).
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Absolute pitch is considerably more common among those whose early childhood was spent in
8:
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Drayna, D.; Manichaikul, A.; DeLange, M.; Snieder, H. & Spector, T. (2001).
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Absolute pitch shows a genetic overlap with music-related and non-music-related
398:, as many Baroque orchestras tune to A = 415 Hz as opposed to 440 Hz (
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Wright, A.A.; Rivera, J.J.; Hulse, S.H.; Shyan, M.; Neiworth, J.J. (2000).
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Connell, B.; Ladd, D. R. (1990). "Aspects of pitch realization in Yoruba".
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871:. Helsinki, Finland: Signe and Ane Gyllenberg Foundation. pp. 124–132.
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1710:"Pitch processing in the human brain is influenced by language experience"
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1446:"Absolute pitch exhibits phenotypic and genetic overlap with synesthesia"
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and to mentally categorize sounds according to perceived pitch class. A
178:. For example, most people have learned to recognize and name the color
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Ellis, Alexander (March 5, 1880). "On the History of Musical Pitch".
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referred to the same ability. The skill is not exclusively musical.
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http://www.ucdmc.ucdavis.edu/mindinstitute/videos/video_autism.html
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Ben-Haim, Moshe Shay; Eitan, Zohar; Chajut, Eran (February 2014).
111:. While the ability to name specific pitches can be used to infer
78:
Identify by name individual pitches played on various instruments.
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2048:
Rakowski, A. (1993). "Categorical perception in absolute pitch".
1971:
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590:(Second ed.). San Diego: Academic Press. pp. 265–298.
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Absolute pitch might be achievable by any human being during a
3303:"Valproate reopens critical-period learning of absolute pitch"
2231:"Music perception and octave generalization in rhesus monkeys"
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Absolute pitch ability has higher prevalence among those with
4145:
3417:
Takeuchi, A. H. & Hulse, S. H. (1993). "Absolute pitch".
3183:
187:
167:
473:
There is evidence of a higher rate of absolute pitch in the
3416:
3351:
1765:
Deutsch, D.; Henthorn, T.; Marvin, E. & Xu H-S (2006).
1394:"Genetic correlates of musical pitch recognition in humans"
1173:
1037:
Translation by Christopher Aruffo, www.acousticlearning.com
1003:
Translation by Christopher Aruffo, www.acousticlearning.com
958:
An Elementary Treatise on Musical Intervals and Temperament
2323:"The basic hearing abilities of absolute pitch possessors"
805:
586:
Ward, W.D. (1998). "Absolute Pitch". In D. Deutsch (ed.).
371:
27:
Ability to identify musical notes by ear without reference
3704:
1878:
2880:
2497:
D. Deutsch; T. Henthorn; E. W. Marvin; H.-S. Xu (2006).
1822:
Deutsch, D.; Dooley, K.; Henthorn, T.; Head, B. (2009).
1242:
1174:
Takeuchi, A. H.; Hulse, S. H. (1993). "Absolute pitch".
30:"Perfect pitch" redirects here. Not to be confused with
3354:"Absolute pitch: Perception, coding, and controversies"
3044:
2602:
2320:
1611:
1124:"Instant Recognition: The Genetics of Pitch Perception"
2389:
Bachem, A. (1937). "Various types of absolute pitch".
2277:
1935:
349:
overwhelmed and obliterated by relative perception of
3876:
3778:
3590:. Chicago: University of Chicago Press. p. 136.
1560:
1335:
1333:
435:, such as transposition or producing harmony that is
127:
1387:
1385:
1243:
Profita, J.; Bidder, T. G. (1988). "Perfect pitch".
698:"What Is Perfect Pitch? | The University of Chicago"
174:(speech sounds), or other categorical perception of
3451:
3297:
2727:Deutsch, D.; Henthorn, T. & Dolson, M. (2004).
2150:
95:Name the pitches of common everyday sounds such as
3165:Abraham, O. (1901). "Das absolute tonbewußtsein".
3050:
2799:
1340:Theusch, E.; Basu, A. & Gitschier, J. (2009).
1330:
905:
481:
50:, is the ability to identify or re-create a given
3272:. Boston: C. C. Birchard & Co. Archived from
3167:Sammelbände der Internationalen Musikgesellschaft
3102:
2793:
2791:
1439:
1437:
1435:
1382:
1020:Sammelbände der Internationalen Musikgesellschaft
1018:[Absolute tone consciousness and music].
157:Difference in cognition, not elementary sensation
4766:
3879:The Journal of the Acoustical Society of America
3781:The Journal of the Acoustical Society of America
3190:Saffran, J. R. & Griepentrog, G. J. (2001).
3132:The Journal of the Acoustical Society of America
3063:
2976:
2506:The Journal of the Acoustical Society of America
2391:The Journal of the Acoustical Society of America
1888:The Journal of the Acoustical Society of America
1831:The Journal of the Acoustical Society of America
1774:The Journal of the Acoustical Society of America
1708:Gandour, J; Wong, D. & Hutchins, G. (1998).
1614:The Journal of the Acoustical Society of America
1567:The Journal of the Acoustical Society of America
1121:
954:
728:The Journal of the Acoustical Society of America
244:with seven or eight (depending on dialect), and
220:Absolute pitch is more common among speakers of
200:
3611:Saah, Victoria; Marvin, Elizabeth West (2004).
1563:"Tone Language Speakers Possess Absolute Pitch"
808:The New Grove Dictionary of Music and Musicians
3585:
3096:
3076:The Japanese Journal of Educational Psychology
3069:
2989:The Japanese Journal of Educational Psychology
2982:
2788:
1758:
1561:Deutsch, D.; Henthorn, T.; Dolson, M. (1999).
1432:
881:
610:
4584:
3963:
3689:
1667:Deutsch, D.; Henthorn T.; Dolson, M. (2004).
948:
866:
824:
3654:
3158:
2552:
2550:
2353:
2066:
2047:
1492:
1209:Wallin, N.L.; Merker, B.; Brown, S. (2000).
1078:
979:
901:
899:
647:
611:Zatorre, Robert; Beckett, Christine (1989).
604:
344:of auditory development, after which period
3832:
3490:
3352:Levitin, D. J. & Rogers, S. E. (2005).
3164:
2661:
2612:American Journal of Medical Genetics Part A
2598:
2596:
2594:
2492:
2490:
2238:Journal of Experimental Psychology: General
1970:
1879:Deutsch, D.; Li, X. & Shen, J. (2013).
833:"How well do we understand absolute pitch?"
762:
715:
538:
88:Identify and name all the tones of a given
4591:
4577:
3970:
3956:
3262:
3225:
3009:
2802:Musicophilia: Tales of Music and the Brain
2556:
2388:
1047:
1016:"Das absolute Tonbewußtsein und die Musik"
1013:
585:
279:Absolute pitch is the ability to perceive
3850:
3722:
3694:. Ontario: University of Western Ontario.
3692:Categorical perception and absolute pitch
3508:
3328:
3318:
3231:
3129:
3123:
3087:
3000:
2959:
2941:
2797:
2623:
2547:
2338:
2084:
2013:
1605:
1554:
1545:
1527:
1469:
1365:
1306:
1147:
1041:
896:
887:
848:
747:
630:
419:and alternative meantone tunings such as
3870:
3826:
3772:
3711:Neuroscience & Biobehavioral Reviews
3648:
3015:
2720:
2591:
2487:
1872:
1815:
1660:
1169:
1167:
973:
830:
4598:
4206:Temporal dynamics of music and language
3935:bibliography of absolute pitch research
2761:
2603:Henthorn, T. & Deutsch, D. (2007).
961:. London: Macmillan and Co. p. xiv
906:Ellis, Alexander J (November 6, 1876).
653:
532:
372:Pitch memory related to musical context
14:
4767:
2820:
1346:The American Journal of Human Genetics
1287:The American Journal of Human Genetics
1202:
1128:The American Journal of Human Genetics
1081:Journal of Research in Music Education
1007:
915:Proceedings of the Musical Association
721:
301:
4572:
3951:
3639:
2757:from the original on October 9, 2022.
2651:from the original on October 9, 2022.
2587:from the original on October 9, 2022.
2543:from the original on October 9, 2022.
2267:from the original on October 9, 2022.
1925:from the original on October 9, 2022.
1868:from the original on October 9, 2022.
1811:from the original on October 9, 2022.
1697:from the original on October 9, 2022.
1530:"Absolute pitch in emphasized speech"
1326:from the original on October 9, 2022.
1164:
1066:10.1093/oxfordjournals.jhered.a110728
575:from the original on October 9, 2022.
335:
332:was "way below clinical thresholds".
260:African level-tone languages—such as
236:with four possible tonal variations,
122:
3977:
2655:
2461:American Journal of Medical Genetics
2452:
2110:The Journal of Comparative Neurology
1245:American Journal of Medical Genetics
936:from the original on October 9, 2022
388:
3454:"Pitch memory and exposure effects"
984:[About the perfect pitch].
182:by the range of frequencies of the
24:
3622:. pp. 736–739. Archived from
2321:Fujisaki, W.; Kashino, M. (2002).
556:10.1016/B978-0-12-381460-9.00005-5
550:(3rd ed.). pp. 141–182.
511:List of people with absolute pitch
407:often between 415 Hz to 456.7 Hz.
128:History of study and terminologies
25:
4801:
4151:Music in psychological operations
3927:
3307:Frontiers in Systems Neuroscience
2356:The Journal of Genetic Psychology
2327:Acoustical Science and Technology
2023:Acoustics Research Letters Online
1534:Acoustics Research Letters Online
837:Acoustical Science and Technology
4096:Generative theory of tonal music
1729:10.1097/00001756-199806220-00038
831:Miyazaki, Ken'ichi (June 2004).
107:Absolute pitch is distinct from
85:of a given piece of tonal music.
4106:Hedonic music consumption model
4003:Cognitive neuroscience of music
3747:
3724:10.1016/j.neubiorev.2012.11.016
3698:
3683:
3633:
3604:
3579:
3533:
3484:
3445:
3410:
3345:
3291:
3256:
2909:
2874:
2855:
2417:
2382:
2347:
2314:
2271:
2222:
2179:
2144:
2101:
2060:
2050:Archives of Acoustics Quarterly
2041:
2007:
1964:
1929:
1701:
1521:
1486:
1271:
1236:
1115:
1072:
875:
860:
482:Correlation with musical talent
468:
264:, with three pitch levels, and
3942:bibliography of absolute pitch
3839:Perception & Psychophysics
3642:Journal of the Society of Arts
3497:Perception & Psychophysics
2559:"The enigma of absolute pitch"
2368:10.1080/00221325.1955.10532197
799:
756:
690:
579:
452:
215:
13:
1:
4543:Psychology of Music (journal)
4086:Eye movement in music reading
2200:10.1016/S0378-5955(01)00257-X
1648:American Institute of Physics
1418:10.1126/science.291.5510.1969
526:
274:
201:Influence by music experience
4111:Illusory continuity of tones
3588:Music Culture and Experience
3361:Trends in Cognitive Sciences
2943:10.1371/journal.pone.0037961
2895:10.1080/02604027.2014.989780
2292:10.1016/j.heares.2005.05.015
1985:10.1177/00238309000430020201
722:Bachem, A. (November 1955).
7:
4557:This Is Your Brain on Music
4536:Music, Thought, and Feeling
4522:Musicae Scientiae (journal)
3431:10.1037/0033-2909.113.2.345
3030:10.1177/0305735603031002292
2250:10.1037/0096-3445.129.3.291
1215:. A. Bradford. p. 13.
1188:10.1037/0033-2909.113.2.345
986:Zeitschrift für Psychologie
494:
224:, such as most dialects of
147:absolute tone consciousness
10:
4806:
4330:Neuronal encoding of sound
4300:Melodic intonation therapy
4008:Culture in music cognition
3373:10.1016/j.tics.2004.11.007
2153:Journal of Neurophysiology
1358:10.1016/j.ajhg.2009.06.010
29:
4709:
4663:
4655:Scientific pitch notation
4610:
4506:
4368:
4272:
4224:
4056:Consonance and dissonance
4026:
3985:
3933:Comprehensive historical
3266:The Science of Tone-Color
3211:10.1037/0012-1649.37.1.74
3002:10.5926/jjep1953.52.4_485
2868:November 4, 2011, at the
1950:10.1017/S095267570000110X
1122:Gregersen, P. K. (1998).
982:"Über das absolute Gehör"
955:Bosanquet, R.H.M (1876).
429:12-tone equal temperament
425:31-tone equal temperament
421:19-tone equal temperament
184:electromagnetic radiation
54:without the benefit of a
4635:Helmholtz pitch notation
4345:Psychoanalysis and music
4325:Neurologic music therapy
4259:Music-specific disorders
4071:Embodied music cognition
4061:Deutsch's scale illusion
3320:10.3389/fnsys.2013.00102
3199:Developmental Psychology
3089:10.5926/jjep1953.47.1_19
3053:Music Education Research
2782:10.1525/mp.2001.18.4.491
2748:10.1525/mp.2004.21.3.339
2165:10.1152/jn.1985.53.1.309
1688:10.1525/mp.2004.21.3.339
1450:Human Molecular Genetics
777:10.1177/0305735619856098
330:autism-spectrum quotient
326:autism spectrum disorder
65:
4201:Speech-to-song illusion
4013:Evolutionary musicology
3554:10.1111/1467-9280.03432
3117:10.1525/mp.2006.24.1.63
3070:Sakakibara, A. (1999).
2983:Sakakibara, A. (2004).
1257:10.1002/ajmg.1320290405
588:The Psychology of Music
548:The Psychology of Music
546:. In D. Deutsch (ed.).
4550:The World in Six Songs
4493:William Forde Thompson
4249:Musical hallucinations
3690:Harris, G. B. (1974).
3419:Psychological Bulletin
1754:on September 12, 2006.
1176:Psychological Bulletin
618:Memory & Cognition
308:optic nerve hypoplasia
250:Sino-Tibetan languages
248:with six. Speakers of
186:that are perceived as
4645:Piano key frequencies
4355:Systematic musicology
3542:Psychological Science
2067:Morest, D.K. (1965).
980:von Kries, J (1892).
810:. London: Macmillan.
444:A = 435 Hz, the
402:roughly one standard
255:pitch-accent language
4790:Cognitive musicology
4161:Music-related memory
3998:Cognitive musicology
3833:Miyazaki K. (1995).
3491:Levitin, D. (1994).
3238:Psychological Review
2662:Zatorre, R. (2003).
2625:10.1002/ajmg.a.31596
1654:on February 5, 2005.
1212:The Origins of Music
539:Deutsch, D. (2013).
356:One or more genetic
92:or other tonal mass.
4448:Max Friedrich Meyer
4340:Philosophy of music
4335:Performance science
4280:Aesthetics of music
4254:Musician's dystonia
4239:Auditory arrhythmia
4126:Melodic expectation
3891:2011ASAJ..130.4097D
3793:2010ASAJ..128..890D
3629:on August 10, 2011.
3279:on November 6, 2006
3263:Maryon, E. (1924).
3179:Full text (English)
3144:2004ASAJ..116.2580L
3018:Psychology of Music
2934:2012PLoSO...737961D
2806:. New York: Knopf.
2671:Nature Neuroscience
2557:Deutsch, D (2006).
2518:2006ASAJ..119..719D
2403:1937ASAJ....9..146B
1973:Language and Speech
1900:2013ASAJ..134.3853D
1843:2009ASAJ..125.2398D
1786:2006ASAJ..119..719D
1626:2004ASAJ..116.2580D
1593:on October 14, 2007
1579:1999ASAJ..106.2267D
1410:2001Sci...291.1969D
1404:(5510): 1969–1972.
1054:Journal of Heredity
1048:Copp, E.F. (1916).
1014:Abraham, O (1907).
765:Psychology of Music
740:1955ASAJ...27.1180B
656:Nature Neuroscience
433:relative strategies
302:Special populations
4507:Books and journals
4428:Carol L. Krumhansl
4146:Music and movement
4101:Glissando illusion
4081:Exercise and music
3944:, with +300 papers
3852:10.3758/bf03205455
3510:10.3758/BF03206733
3232:Meyer, M. (1899).
2798:Sacks, O. (2007).
2073:Journal of Anatomy
2014:Braun, M. (2001).
1528:Braun, M. (2002).
1462:10.1093/hmg/ddt059
927:10.1093/jrma/3.1.1
850:10.1250/ast.25.426
632:10.3758/BF03197081
336:Nature vs. nurture
324:and those with an
294:-D ... B-C).
123:Scientific studies
4762:
4761:
4681:Pitch circularity
4566:
4565:
4315:Musical acoustics
4191:Sharawadji effect
4171:Musical semantics
4141:Music and emotion
4041:Auditory illusion
3899:10.1121/1.3652861
3801:10.1121/1.3458848
3398:on March 22, 2006
3152:10.1121/1.4785301
2813:978-1-4000-4081-0
2578:10.1121/1.2961141
2526:10.1121/1.2151799
2411:10.1121/1.1915919
2340:10.1250/ast.23.77
2122:10.1002/cne.10595
2079:(Pt 1): 143–160.
2035:10.1121/1.1376728
1908:10.1121/1.4824450
1851:10.1121/1.3081389
1794:10.1121/1.2151799
1634:10.1121/1.4808626
1547:10.1121/1.1472336
1050:"Musical Ability"
749:10.1121/1.1908155
702:news.uchicago.edu
417:well temperaments
389:Possible problems
351:musical intervals
322:Williams syndrome
16:(Redirected from
4797:
4780:Music psychology
4717:Electronic tuner
4593:
4586:
4579:
4570:
4569:
4515:Music Perception
4458:Richard Parncutt
4443:Leonard B. Meyer
4393:Jane W. Davidson
4378:Jamshed Bharucha
4156:Music preference
4051:Background music
4046:Auditory imagery
3979:Music psychology
3972:
3965:
3958:
3949:
3948:
3922:
3918:
3885:(6): 4097–4104.
3874:
3868:
3864:
3854:
3830:
3824:
3820:
3776:
3770:
3769:
3767:
3765:
3759:iancommunity.org
3751:
3745:
3744:
3726:
3702:
3696:
3695:
3687:
3681:
3680:
3669:10.2307/40285599
3657:Music Perception
3652:
3646:
3645:
3637:
3631:
3630:
3628:
3617:
3608:
3602:
3601:
3583:
3577:
3573:
3537:
3531:
3530:
3512:
3488:
3482:
3481:
3470:10.1037/a0033583
3449:
3443:
3442:
3414:
3408:
3407:
3405:
3403:
3397:
3391:. Archived from
3358:
3349:
3343:
3342:
3332:
3322:
3295:
3289:
3288:
3286:
3284:
3278:
3271:
3260:
3254:
3253:
3250:10.1037/h0069034
3229:
3223:
3222:
3196:
3187:
3181:
3174:
3162:
3156:
3155:
3127:
3121:
3120:
3105:Music Perception
3100:
3094:
3093:
3091:
3067:
3061:
3060:
3048:
3042:
3041:
3013:
3007:
3006:
3004:
2980:
2974:
2973:
2963:
2945:
2913:
2907:
2906:
2889:(7–8): 390–405.
2878:
2872:
2859:
2853:
2852:
2841:10.2307/40285769
2829:Music Perception
2824:
2818:
2817:
2805:
2795:
2786:
2785:
2770:Music Perception
2765:
2759:
2758:
2756:
2736:Music Perception
2733:
2724:
2718:
2717:
2715:
2713:
2708:on March 7, 2008
2707:
2701:. Archived from
2668:
2659:
2653:
2652:
2650:
2627:
2609:
2600:
2589:
2588:
2586:
2563:
2554:
2545:
2544:
2542:
2503:
2494:
2485:
2484:
2456:
2450:
2449:
2438:10.2307/40285572
2426:Music Perception
2421:
2415:
2414:
2386:
2380:
2379:
2351:
2345:
2344:
2342:
2318:
2312:
2311:
2280:Hearing Research
2275:
2269:
2268:
2266:
2235:
2226:
2220:
2219:
2194:(1–2): 113–123.
2188:Hearing Research
2183:
2177:
2176:
2148:
2142:
2141:
2105:
2099:
2098:
2088:
2064:
2058:
2057:
2045:
2039:
2038:
2020:
2011:
2005:
2004:
1968:
1962:
1961:
1933:
1927:
1926:
1924:
1894:(5): 3853–3859.
1885:
1876:
1870:
1869:
1867:
1837:(4): 2398–2403.
1828:
1819:
1813:
1812:
1810:
1771:
1762:
1756:
1755:
1753:
1747:. Archived from
1723:(9): 2115–2119.
1714:
1705:
1699:
1698:
1696:
1676:Music Perception
1673:
1664:
1658:
1655:
1650:. Archived from
1640:Lay summary in:
1637:
1609:
1603:
1602:
1600:
1598:
1589:. Archived from
1587:10.1121/1.427738
1558:
1552:
1551:
1549:
1525:
1519:
1518:
1507:10.2307/40285495
1495:Music Perception
1490:
1484:
1483:
1473:
1456:(10): 2097–104.
1441:
1430:
1429:
1389:
1380:
1379:
1369:
1337:
1328:
1327:
1325:
1310:
1284:
1275:
1269:
1268:
1240:
1234:
1233:
1231:
1229:
1206:
1200:
1199:
1171:
1162:
1161:
1151:
1119:
1113:
1112:
1076:
1070:
1069:
1045:
1039:
1035:
1033:
1031:
1011:
1005:
1001:
999:
997:
977:
971:
970:
968:
966:
952:
946:
945:
943:
941:
935:
912:
903:
894:
893:
891:
879:
873:
872:
864:
858:
857:
852:
828:
822:
821:
803:
797:
796:
760:
754:
753:
751:
724:"Absolute Pitch"
719:
713:
712:
710:
708:
694:
688:
687:
651:
645:
644:
634:
608:
602:
601:
583:
577:
576:
574:
545:
541:"Absolute pitch"
536:
427:) as opposed to
293:
292:
195:dominant genetic
46:), often called
21:
4805:
4804:
4800:
4799:
4798:
4796:
4795:
4794:
4775:Music cognition
4765:
4764:
4763:
4758:
4722:Mersenne's laws
4705:
4659:
4640:Letter notation
4606:
4597:
4567:
4562:
4502:
4388:Robert Cutietta
4364:
4350:Sociomusicology
4305:Music education
4290:Ethnomusicology
4268:
4220:
4216:Tritone paradox
4181:Octave illusion
4166:Musical gesture
4131:Melodic fission
4121:Lipps–Meyer law
4091:Franssen effect
4022:
4018:Psychoacoustics
3981:
3976:
3930:
3925:
3875:
3871:
3831:
3827:
3777:
3773:
3763:
3761:
3753:
3752:
3748:
3703:
3699:
3688:
3684:
3653:
3649:
3638:
3634:
3626:
3615:
3609:
3605:
3598:
3584:
3580:
3538:
3534:
3489:
3485:
3450:
3446:
3415:
3411:
3401:
3399:
3395:
3356:
3350:
3346:
3296:
3292:
3282:
3280:
3276:
3269:
3261:
3257:
3230:
3226:
3194:
3188:
3184:
3163:
3159:
3128:
3124:
3101:
3097:
3068:
3064:
3049:
3045:
3014:
3010:
2981:
2977:
2914:
2910:
2879:
2875:
2870:Wayback Machine
2860:
2856:
2825:
2821:
2814:
2796:
2789:
2766:
2762:
2754:
2731:
2725:
2721:
2711:
2709:
2705:
2666:
2660:
2656:
2648:
2607:
2601:
2592:
2584:
2566:Acoustics Today
2561:
2555:
2548:
2540:
2501:
2495:
2488:
2457:
2453:
2422:
2418:
2387:
2383:
2352:
2348:
2319:
2315:
2276:
2272:
2264:
2233:
2227:
2223:
2184:
2180:
2149:
2145:
2106:
2102:
2065:
2061:
2046:
2042:
2018:
2012:
2008:
1969:
1965:
1934:
1930:
1922:
1883:
1877:
1873:
1865:
1826:
1820:
1816:
1808:
1769:
1763:
1759:
1751:
1712:
1706:
1702:
1694:
1671:
1665:
1661:
1642:Diana Deutsch.
1641:
1610:
1606:
1596:
1594:
1559:
1555:
1526:
1522:
1491:
1487:
1442:
1433:
1390:
1383:
1338:
1331:
1323:
1282:
1276:
1272:
1241:
1237:
1227:
1225:
1223:
1207:
1203:
1172:
1165:
1120:
1116:
1093:10.2307/3344200
1077:
1073:
1046:
1042:
1029:
1027:
1012:
1008:
995:
993:
978:
974:
964:
962:
953:
949:
939:
937:
933:
910:
904:
897:
880:
876:
865:
861:
829:
825:
818:
804:
800:
761:
757:
720:
716:
706:
704:
696:
695:
691:
652:
648:
609:
605:
598:
584:
580:
572:
566:
543:
537:
533:
529:
497:
484:
471:
455:
391:
374:
342:critical period
338:
304:
290:
289:
277:
222:tonal languages
218:
203:
176:sensory stimuli
159:
130:
125:
68:
35:
28:
23:
22:
15:
12:
11:
5:
4803:
4793:
4792:
4787:
4782:
4777:
4760:
4759:
4757:
4756:
4751:
4746:
4741:
4740:
4739:
4732:Musical tuning
4729:
4724:
4719:
4713:
4711:
4707:
4706:
4704:
4703:
4698:
4693:
4688:
4686:Relative pitch
4683:
4678:
4673:
4671:Absolute pitch
4667:
4665:
4661:
4660:
4658:
4657:
4652:
4647:
4642:
4637:
4632:
4627:
4626:
4625:
4614:
4612:
4608:
4607:
4596:
4595:
4588:
4581:
4573:
4564:
4563:
4561:
4560:
4553:
4546:
4539:
4532:
4525:
4518:
4510:
4508:
4504:
4503:
4501:
4500:
4495:
4490:
4485:
4480:
4475:
4470:
4465:
4460:
4455:
4450:
4445:
4440:
4438:Daniel Levitin
4435:
4430:
4425:
4420:
4415:
4413:Henkjan Honing
4410:
4405:
4400:
4395:
4390:
4385:
4380:
4374:
4372:
4366:
4365:
4363:
4362:
4357:
4352:
4347:
4342:
4337:
4332:
4327:
4322:
4317:
4312:
4307:
4302:
4297:
4292:
4287:
4282:
4276:
4274:
4273:Related fields
4270:
4269:
4267:
4266:
4261:
4256:
4251:
4246:
4241:
4236:
4230:
4228:
4222:
4221:
4219:
4218:
4213:
4208:
4203:
4198:
4193:
4188:
4186:Relative pitch
4183:
4178:
4176:Musical syntax
4173:
4168:
4163:
4158:
4153:
4148:
4143:
4138:
4133:
4128:
4123:
4118:
4116:Levitin effect
4113:
4108:
4103:
4098:
4093:
4088:
4083:
4078:
4073:
4068:
4063:
4058:
4053:
4048:
4043:
4038:
4036:Absolute pitch
4032:
4030:
4024:
4023:
4021:
4020:
4015:
4010:
4005:
4000:
3995:
3989:
3987:
3983:
3982:
3975:
3974:
3967:
3960:
3952:
3946:
3945:
3938:
3937:, 1876–present
3929:
3928:External links
3926:
3924:
3923:
3869:
3845:(7): 962–970.
3825:
3771:
3746:
3717:(2): 209–228.
3697:
3682:
3647:
3632:
3603:
3596:
3578:
3548:(3): 262–266.
3532:
3503:(4): 414–423.
3483:
3444:
3409:
3344:
3299:Gervain, Judit
3290:
3255:
3244:(5): 514–516.
3224:
3182:
3157:
3122:
3095:
3062:
3043:
3024:(2): 155–171.
3008:
2995:(4): 485–496.
2975:
2908:
2873:
2854:
2835:(3): 291–305.
2819:
2812:
2787:
2776:(4): 491–503.
2760:
2742:(3): 339–356.
2719:
2683:10.1038/nn1085
2654:
2618:(1): 102–103.
2590:
2546:
2512:(2): 719–722.
2486:
2467:(3): 280–282.
2451:
2432:(3): 305–316.
2416:
2397:(2): 146–151.
2381:
2362:(2): 237–259.
2346:
2313:
2286:(1–2): 85–92.
2270:
2244:(3): 291–307.
2221:
2178:
2159:(1): 309–340.
2143:
2116:(3): 307–317.
2100:
2059:
2040:
2006:
1979:(2): 163–182.
1963:
1928:
1871:
1814:
1780:(2): 719–722.
1757:
1700:
1682:(3): 339–356.
1659:
1657:
1656:
1604:
1553:
1520:
1501:(2): 177–188.
1485:
1431:
1381:
1352:(1): 112–119.
1329:
1299:10.1086/301704
1293:(2): 224–231.
1270:
1251:(4): 763–771.
1235:
1221:
1201:
1182:(2): 345–361.
1163:
1140:10.1086/301734
1134:(2): 221–223.
1114:
1071:
1060:(7): 297–305.
1040:
1006:
972:
947:
895:
889:10.1101/355933
874:
859:
843:(6): 270–282.
823:
816:
798:
771:(6): 890–901.
755:
714:
689:
668:10.1038/nn1085
662:(7): 692–695.
646:
625:(5): 582–589.
603:
596:
578:
564:
530:
528:
525:
524:
523:
518:
516:Discrimination
513:
508:
506:Levitin effect
503:
496:
493:
483:
480:
470:
467:
454:
451:
390:
387:
373:
370:
337:
334:
303:
300:
276:
273:
217:
214:
207:equal-tempered
202:
199:
158:
155:
151:positive pitch
135:absolute pitch
129:
126:
124:
121:
109:relative pitch
105:
104:
93:
86:
79:
67:
64:
56:reference tone
40:Absolute pitch
26:
9:
6:
4:
3:
2:
4802:
4791:
4788:
4786:
4785:Pitch (music)
4783:
4781:
4778:
4776:
4773:
4772:
4770:
4755:
4752:
4750:
4747:
4745:
4742:
4738:
4735:
4734:
4733:
4730:
4728:
4725:
4723:
4720:
4718:
4715:
4714:
4712:
4708:
4702:
4701:Virtual pitch
4699:
4697:
4696:Tone deafness
4694:
4692:
4689:
4687:
4684:
4682:
4679:
4677:
4674:
4672:
4669:
4668:
4666:
4662:
4656:
4653:
4651:
4648:
4646:
4643:
4641:
4638:
4636:
4633:
4631:
4628:
4624:
4621:
4620:
4619:
4618:Concert pitch
4616:
4615:
4613:
4609:
4605:
4601:
4594:
4589:
4587:
4582:
4580:
4575:
4574:
4571:
4559:
4558:
4554:
4552:
4551:
4547:
4545:
4544:
4540:
4538:
4537:
4533:
4531:
4530:
4526:
4524:
4523:
4519:
4517:
4516:
4512:
4511:
4509:
4505:
4499:
4498:Sandra Trehub
4496:
4494:
4491:
4489:
4486:
4484:
4481:
4479:
4478:Roger Shepard
4476:
4474:
4471:
4469:
4468:Carl Seashore
4466:
4464:
4461:
4459:
4456:
4454:
4453:James Mursell
4451:
4449:
4446:
4444:
4441:
4439:
4436:
4434:
4431:
4429:
4426:
4424:
4421:
4419:
4416:
4414:
4411:
4409:
4408:Tuomas Eerola
4406:
4404:
4403:Diana Deutsch
4401:
4399:
4398:Irène Deliège
4396:
4394:
4391:
4389:
4386:
4384:
4381:
4379:
4376:
4375:
4373:
4371:
4367:
4361:
4360:Zoomusicology
4358:
4356:
4353:
4351:
4348:
4346:
4343:
4341:
4338:
4336:
4333:
4331:
4328:
4326:
4323:
4321:
4318:
4316:
4313:
4311:
4310:Music therapy
4308:
4306:
4303:
4301:
4298:
4296:
4293:
4291:
4288:
4286:
4283:
4281:
4278:
4277:
4275:
4271:
4265:
4264:Tone deafness
4262:
4260:
4257:
4255:
4252:
4250:
4247:
4245:
4244:Beat deafness
4242:
4240:
4237:
4235:
4232:
4231:
4229:
4227:
4223:
4217:
4214:
4212:
4209:
4207:
4204:
4202:
4199:
4197:
4194:
4192:
4189:
4187:
4184:
4182:
4179:
4177:
4174:
4172:
4169:
4167:
4164:
4162:
4159:
4157:
4154:
4152:
4149:
4147:
4144:
4142:
4139:
4137:
4136:Mozart effect
4134:
4132:
4129:
4127:
4124:
4122:
4119:
4117:
4114:
4112:
4109:
4107:
4104:
4102:
4099:
4097:
4094:
4092:
4089:
4087:
4084:
4082:
4079:
4077:
4074:
4072:
4069:
4067:
4064:
4062:
4059:
4057:
4054:
4052:
4049:
4047:
4044:
4042:
4039:
4037:
4034:
4033:
4031:
4029:
4025:
4019:
4016:
4014:
4011:
4009:
4006:
4004:
4001:
3999:
3996:
3994:
3993:Biomusicology
3991:
3990:
3988:
3984:
3980:
3973:
3968:
3966:
3961:
3959:
3954:
3953:
3950:
3943:
3939:
3936:
3932:
3931:
3921:
3916:
3912:
3908:
3904:
3900:
3896:
3892:
3888:
3884:
3880:
3873:
3867:
3862:
3858:
3853:
3848:
3844:
3840:
3836:
3829:
3823:
3818:
3814:
3810:
3806:
3802:
3798:
3794:
3790:
3786:
3782:
3775:
3760:
3756:
3750:
3742:
3738:
3734:
3730:
3725:
3720:
3716:
3712:
3708:
3701:
3693:
3686:
3678:
3674:
3670:
3666:
3662:
3658:
3651:
3643:
3636:
3625:
3621:
3614:
3607:
3599:
3597:0-226-08829-4
3593:
3589:
3582:
3576:
3571:
3567:
3563:
3559:
3555:
3551:
3547:
3543:
3536:
3528:
3524:
3520:
3516:
3511:
3506:
3502:
3498:
3494:
3487:
3479:
3475:
3471:
3467:
3463:
3459:
3455:
3448:
3440:
3436:
3432:
3428:
3425:(2): 345–61.
3424:
3420:
3413:
3394:
3390:
3386:
3382:
3378:
3374:
3370:
3366:
3362:
3355:
3348:
3340:
3336:
3331:
3326:
3321:
3316:
3312:
3308:
3304:
3300:
3294:
3275:
3268:
3267:
3259:
3251:
3247:
3243:
3239:
3235:
3228:
3220:
3216:
3212:
3208:
3204:
3200:
3193:
3186:
3180:
3177:
3172:
3168:
3161:
3153:
3149:
3145:
3141:
3137:
3133:
3126:
3118:
3114:
3110:
3106:
3099:
3090:
3085:
3081:
3077:
3073:
3066:
3058:
3054:
3047:
3039:
3035:
3031:
3027:
3023:
3019:
3012:
3003:
2998:
2994:
2990:
2986:
2979:
2971:
2967:
2962:
2957:
2953:
2949:
2944:
2939:
2935:
2931:
2928:(5): e37961.
2927:
2923:
2919:
2912:
2904:
2900:
2896:
2892:
2888:
2884:
2883:World Futures
2877:
2871:
2867:
2864:
2858:
2850:
2846:
2842:
2838:
2834:
2830:
2823:
2815:
2809:
2804:
2803:
2794:
2792:
2783:
2779:
2775:
2771:
2764:
2753:
2749:
2745:
2741:
2737:
2730:
2723:
2704:
2700:
2696:
2692:
2688:
2684:
2680:
2676:
2672:
2665:
2658:
2647:
2643:
2639:
2635:
2631:
2626:
2621:
2617:
2613:
2606:
2599:
2597:
2595:
2583:
2579:
2575:
2571:
2567:
2560:
2553:
2551:
2539:
2535:
2531:
2527:
2523:
2519:
2515:
2511:
2507:
2500:
2493:
2491:
2482:
2478:
2474:
2470:
2466:
2462:
2455:
2447:
2443:
2439:
2435:
2431:
2427:
2420:
2412:
2408:
2404:
2400:
2396:
2392:
2385:
2377:
2373:
2369:
2365:
2361:
2357:
2350:
2341:
2336:
2332:
2328:
2324:
2317:
2309:
2305:
2301:
2297:
2293:
2289:
2285:
2281:
2274:
2263:
2259:
2255:
2251:
2247:
2243:
2239:
2232:
2225:
2217:
2213:
2209:
2205:
2201:
2197:
2193:
2189:
2182:
2174:
2170:
2166:
2162:
2158:
2154:
2147:
2139:
2135:
2131:
2127:
2123:
2119:
2115:
2111:
2104:
2096:
2092:
2087:
2082:
2078:
2074:
2070:
2063:
2055:
2051:
2044:
2036:
2032:
2028:
2024:
2017:
2010:
2002:
1998:
1994:
1990:
1986:
1982:
1978:
1974:
1967:
1959:
1955:
1951:
1947:
1943:
1939:
1932:
1921:
1917:
1913:
1909:
1905:
1901:
1897:
1893:
1889:
1882:
1875:
1864:
1860:
1856:
1852:
1848:
1844:
1840:
1836:
1832:
1825:
1818:
1807:
1803:
1799:
1795:
1791:
1787:
1783:
1779:
1775:
1768:
1761:
1750:
1746:
1742:
1738:
1734:
1730:
1726:
1722:
1718:
1711:
1704:
1693:
1689:
1685:
1681:
1677:
1670:
1663:
1653:
1649:
1645:
1639:
1638:
1635:
1631:
1627:
1623:
1619:
1615:
1608:
1592:
1588:
1584:
1580:
1576:
1572:
1568:
1564:
1557:
1548:
1543:
1539:
1535:
1531:
1524:
1516:
1512:
1508:
1504:
1500:
1496:
1489:
1481:
1477:
1472:
1467:
1463:
1459:
1455:
1451:
1447:
1440:
1438:
1436:
1427:
1423:
1419:
1415:
1411:
1407:
1403:
1399:
1395:
1388:
1386:
1377:
1373:
1368:
1363:
1359:
1355:
1351:
1347:
1343:
1336:
1334:
1322:
1318:
1314:
1309:
1304:
1300:
1296:
1292:
1288:
1281:
1274:
1266:
1262:
1258:
1254:
1250:
1246:
1239:
1224:
1222:9780262731430
1218:
1214:
1213:
1205:
1197:
1193:
1189:
1185:
1181:
1177:
1170:
1168:
1159:
1155:
1150:
1145:
1141:
1137:
1133:
1129:
1125:
1118:
1110:
1106:
1102:
1098:
1094:
1090:
1086:
1082:
1075:
1067:
1063:
1059:
1055:
1051:
1044:
1038:
1025:
1022:(in German).
1021:
1017:
1010:
1004:
991:
988:(in German).
987:
983:
976:
960:
959:
951:
932:
928:
924:
920:
916:
909:
902:
900:
890:
885:
878:
870:
863:
856:
851:
846:
842:
838:
834:
827:
819:
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216:Linguistics
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4664:Perception
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192:autosomal
164:cognition
113:intervals
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