Is Hey Jude in the right key? Cognitive components of absolute pitch memory.

Most individuals, regardless of formal musical training, have long-term absolute pitch memory (APM) for familiar musical recordings, though with varying levels of accuracy. The present study followed up on recent evidence suggesting an association between singing accuracy and APM (Halpern & Pfordresher, 2022, Attention, Perception, & Psychophysics, 84(1), 260-269), as well as tonal short-term memory (STM) and APM (Van Hedger et al., 2018, Quarterly Journal of Experimental Psychology, 71(4), 879-891). Participants from three research sites (n = 108) completed a battery of tasks including APM, tonal STM, singing accuracy, and self-reported auditory imagery. Both tonal STM and singing accuracy predicted APM, replicating prior results. Tonal STM also predicted singing accuracy, music training, and auditory imagery. Further tests suggested that the association between APM and singing accuracy was fully mediated by tonal STM. This pattern comports well with models of vocal pitch matching that include STM for pitch as a mechanism for sensorimotor translation.

The effect of musical training and language background on vocal imitation of pitch in speech and song.

Vocal imitation plays a critical function in the development and use of both language and music. Previous studies have reported more accurate imitation for sung pitch than spoken pitch, which might be attributed to the structural differences in acoustic signals and/or the distinct mental representations of pitch patterns across speech and music. The current study investigates the interaction between bottom-up (i.e., acoustic structure) and top-down (i.e., participants' language and musical background) factors on pitch imitation by comparing speech and song imitation accuracy across four groups: English and Mandarin speakers with or without musical training. Participants imitated pitch sequences that were characteristic of either song or speech, derived from pitch patterns in English and Mandarin spoken sentences. Overall, song imitation was more accurate than speech imitation, and this advantage was larger for English than Mandarin pitch sequences, regardless of participants' musical and language experiences. This effect likely reflects the perceptual salience of linguistic tones in Mandarin relative to English speech. Music and language knowledge were associated with optimal imitation of different acoustic features. Musicians were more accurate in matching absolute pitch across syllables and musical notes compared to nonmusicians. By contrast, Mandarin speakers were more accurate at imitating fine-grained changes within and across pitch events compared to English speakers. These results suggest that different top-down factors (i.e., language and musical background) influence pitch imitation ability for different dimensions of bottom-up features (i.e., absolute pitch and relative pitch patterns). (PsycInfo Database Record (c) 2023 APA, all rights reserved).

A reversal of the song advantage in vocal pitch imitation.

Previous experiments have documented an advantage for vocal pitch-matching when participants sing back a short melody, in contrast to when participants attempt to imitate the pitch contour of spoken English. These results appear to confirm recent claims that music involves greater precision of pitch than speech. A re-analysis of these data is reported here that focuses on imitation of pitch trajectories within sung notes or spoken syllables. When analyzed this way, the domain-based difference reverses and speech imitation exhibits an advantage relative to song imitation. These results suggest that domain-specific advantages in imitation vary as a function of timescale.

Singing accuracy across the lifespan.

Although singing is a nearly universal human behavior, many adults consider themselves poor singers and avoid singing based on self-assessment of pitch matching accuracy during singing (here referred to as singing accuracy), in contrast to the uninhibited singing exhibited by children. In this article, I report results that shed light on how singing accuracy changes across the lifespan, using data from a large online sample, including participants ranging from 6 to 99 years old. Results suggest that singing accuracy improves dramatically from childhood to young adulthood, unperturbed by voice changes during adolescence, and remain at a similarly high level for the remainder of life, exhibiting no strong tendency toward age-related decline. Vocal or instrumental musical training has significant positive effects on singing accuracy, particularly in childhood, though there was no evidence for gender differences. Finally, pitch discrimination varied with age similarly to singing accuracy, in support of views that singing accuracy reflects sensorimotor learning. Taken together, these results are consistent with the view that singing accuracy is a learned motor skill that benefits from engagement and can remain a fruitful endeavor into old age.

Effects of intention in the imitation of sung and spoken pitch.

Pitch content is an important component of song and speech. Previous studies have shown a pronounced advantage for imitation of sung pitch over spoken pitch. However, it is not clear to what extent matching of pitch in production depends on one's intention to imitate pitch. We measured the effects of intention to imitate on matching of produced pitch in both vocal domains. Participants imitated pitch content in speech and song stimuli intentionally ("imitate the pitch") and incidentally ("repeat the words"). Our results suggest that the song advantage exists independently of whether participants explicitly intend to imitate pitch. This result supports the notion that the song advantage reflects pitch salience in the stimulus. On the other hand, participants were more effective at suppressing the imitation of pitch for song than for speech. This second result suggests that it is easier to dissociate phonetic content from pitch in the context of song than in speech. Analyses of individual differences showed that intention to imitate pitch had larger effects for individuals who tended to match pitch overall in production, independent of intentions. Taken together, the results help to illuminate the psychological processes underlying intentional and automatic vocal imitation processes.

What do less accurate singers remember? Pitch-matching ability and long-term memory for music.

We have only a partial understanding of how people remember nonverbal information such as melodies. Although once learned, melodies can be retained well over long periods of time, remembering newly presented melodies is on average quite difficult. People vary considerably, however, in their level of success in both memory situations. Here, we examine a skill we anticipated would be correlated with memory for melodies: the ability to accurately reproduce pitches. Such a correlation would constitute evidence that melodic memory involves at least covert sensorimotor codes. Experiment 1 looked at episodic memory for new melodies among nonmusicians, both overall and with respect to the Vocal Memory Advantage (VMA): the superiority in remembering melodies presented as sung on a syllable compared to rendered on an instrument. Although we replicated the VMA, our prediction that better pitch matchers would have a larger VMA was not supported, although there was a modest correlation with memory for melodies presented in a piano timbre. Experiment 2 examined long-term memory for the starting pitch of familiar recorded music. Participants selected the starting note of familiar songs on a keyboard, without singing. Nevertheless, we found that better pitch-matchers were more accurate in reproducing the correct starting note. We conclude that sensorimotor coding may be used in storing and retrieving exact melodic information, but is not so useful during early encounters with melodies, as initial coding seems to involve more derived properties such as pitch contour and tonality.

Music production deficits and social bonding: The case of poor-pitch singing.

Both of the companion target articles place considerable performance on music performance ability, with specific attention paid to singing in harmony for the music and social bonding (MSB) hypothesis proposed by Savage and colleagues. In this commentary, I evaluate results from recent research on singing accuracy in light of their implications for the MSB hypothesis.

Individuals with autism spectrum disorder are impaired in absolute but not relative pitch and duration matching in speech and song imitation.

Individuals with autism spectrum disorder (ASD) often exhibit atypical imitation. However, few studies have identified clear quantitative characteristics of vocal imitation in ASD. This study investigated imitation of speech and song in English-speaking individuals with and without ASD and its modulation by age. Participants consisted of 25 autistic children and 19 autistic adults, who were compared to 25 children and 19 adults with typical development matched on age, gender, musical training, and cognitive abilities. The task required participants to imitate speech and song stimuli with varying pitch and duration patterns. Acoustic analyses of the imitation performance suggested that individuals with ASD were worse than controls on absolute pitch and duration matching for both speech and song imitation, although they performed as well as controls on relative pitch and duration matching. Furthermore, the two groups produced similar numbers of pitch contour, pitch interval-, and time errors. Across both groups, sung pitch was imitated more accurately than spoken pitch, whereas spoken duration was imitated more accurately than sung duration. Children imitated spoken pitch more accurately than adults when it came to speech stimuli, whereas age showed no significant relationship to song imitation. These results reveal a vocal imitation deficit across speech and music domains in ASD that is specific to absolute pitch and duration matching. This finding provides evidence for shared mechanisms between speech and song imitation, which involves independent implementation of relative versus absolute features. LAY SUMMARY: Individuals with autism spectrum disorder (ASD) often exhibit atypical imitation of actions and gestures. Characteristics of vocal imitation in ASD remain unclear. By comparing speech and song imitation, this study shows that individuals with ASD have a vocal imitative deficit that is specific to absolute pitch and duration matching, while performing as well as controls on relative pitch and duration matching, across speech and music domains.

Spontaneous Production Rates in Music and Speech.

Individuals typically produce auditory sequences, such as speech or music, at a consistent spontaneous rate or tempo. We addressed whether spontaneous rates would show patterns of convergence across the domains of music and language production when the same participants spoke sentences and performed melodic phrases on a piano. Although timing plays a critical role in both domains, different communicative and motor constraints apply in each case and so it is not clear whether music and speech would display similar timing mechanisms. We report the results of two experiments in which adult participants produced sequences from memory at a comfortable spontaneous (uncued) rate. In Experiment 1, monolingual pianists in Buffalo, New York engaged in three production tasks: speaking sentences from memory, performing short melodies from memory, and tapping isochronously. In Experiment 2, English-French bilingual pianists in Montréal, Canada produced melodies on a piano as in Experiment 1, and spoke short rhythmically-structured phrases repeatedly. Both experiments led to the same pattern of results. Participants exhibited consistent spontaneous rates within each task. People who produced one spoken phrase rapidly were likely to produce another spoken phrase rapidly. This consistency across stimuli was also found for performance of different musical melodies. In general, spontaneous rates across speech and music tasks were not correlated, whereas rates of tapping and music were correlated. Speech rates (for syllables) were faster than music rates (for tones) and speech showed a smaller range of spontaneous rates across individuals than did music or tapping rates. Taken together, these results suggest that spontaneous rate reflects cumulative influences of endogenous rhythms (in consistent self-generated rates within domain), peripheral motor constraints (in finger movements across tapping and music), and communicative goals based on the cultural transmission of auditory information (slower rates for to-be-synchronized music than for speech).

Generalization of novel sensorimotor associations among pianists and non-pianists: more evidence that musical training effects are constrained.

In the process of acquiring musical skills, such as playing the piano, we develop sensorimotor associations between motor movements and perception of pitch. Previous research suggests that these acquired associations are relatively inflexible and show limited generalizability to performance under novel conditions. The current study investigated whether piano training constrains the ability to generalize learning based on an unfamiliar (inverted) pitch mapping, using a transfer-of-training paradigm (Palmer and Meyer in Psychol Sci 11:63-68, 2000). Pianists and non-pianists learned a training melody by ear with normal (higher pitches to the right) or inverted (higher pitches to the left) pitch mapping. After training, participants completed a generalization test in which they listened to and then immediately reproduced four types of melodies that varied in their similarity to the melody used during training and were based on the same, a similar, an inverted, or a different pitch pattern. The feedback mapping during the generalization test matched training. Overall, pianists produced fewer errors and required fewer training trials than non-pianists. However, benefits of training were absent for pianists who trained with inverted feedback when they attempted to reproduce a melody with a different structure than the melody used for training. This suggests that piano experience may constrain one's ability to generalize learning that is based on novel sensorimotor associations.

Musical training enhances temporal adaptation of auditory-motor synchronization.

To coordinate their actions successfully with auditory events, individuals must be able to adapt their behaviour flexibly to environmental changes. Previous work has shown that musical training enhances the flexibility to synchronize behaviour with a wide range of stimulus periods. The current experiment investigated whether musical training enhances temporal adaptation to period perturbations as listeners tapped with a metronome, and whether this enhancement is specific to individuals' Spontaneous Production Rates (SPRs; individuals' natural uncued rates). Both musicians and nonmusicians adapted more quickly to period perturbations that slowed down than to those that sped up. Importantly, musicians adapted more quickly to all period perturbations than nonmusicians. Fits of a damped harmonic oscillator model to the tapping measures confirmed musicians' faster adaptation and greater responsiveness to period perturbations. These results suggest that, even when the task is tailored to individual SPRs, musical training increases the flexibility with which individuals can adapt to changes in their environment during auditory-motor tasks.

Pitch-specific contributions of auditory imagery and auditory memory in vocal pitch imitation.

Vocal imitation guides both music and language development. Despite the developmental significance of this behavior, a sizable minority of individuals are inaccurate at vocal pitch imitation. Although previous research suggested that inaccurate pitch imitation results from deficient sensorimotor associations between pitch perception and vocal motor planning, the cognitive processes involved in sensorimotor translation are not clearly defined. In the present research, we investigated the roles of basic cognitive processes in the vocal imitation of pitch, as well as the degree to which these processes rely on pitch-specific resources. In the present study, participants completed a battery of pitch and verbal tasks to measure pitch perception, pitch and verbal auditory imagery, pitch and verbal auditory short-term memory, and pitch imitation ability. Information on participants' music background was collected, as well. Pitch imagery, pitch short-term memory, pitch discrimination ability, and musical experience were unique predictors of pitch imitation ability. Furthermore, pitch imagery was a partial mediator of the relationship between pitch short-term memory and pitch imitation ability. These results indicate that vocal imitation recruits cognitive processes that rely on at least partially separate neural resources for pitch and verbal representations.

A cost of musical training? Sensorimotor flexibility in musical sequence learning.

We report an experiment that tested the flexibility of sensorimotor learning in sequence production. Nonpianists and pianists learned simple melodies by ear under one of two auditory feedback conditions: one with normal pitch mapping (higher pitches to the right) and one with an inverted (reversed) mapping. After learning, both groups played melodies from memory while experiencing each feedback condition. Both groups exhibited sensorimotor learning and produced fewer errors at test while hearing the feedback used during training as opposed to the alternate feedback condition. However, learning was unstable for pianists who learned melodies with an inverted feedback condition, who produced more errors at test than pianists who learned melodies with normal-pitch mapping. Acquiring musical skill may therefore constrain subsequent sensorimotor flexibility.

Covert singing in anticipatory auditory imagery.

To date, several fMRI studies reveal activation in motor planning areas during musical auditory imagery. We addressed whether such activations may give rise to peripheral motor activity, termed subvocalization or covert singing, using surface electromyography. Sensors placed on extrinsic laryngeal muscles, facial muscles, and a control site on the bicep measured muscle activity during auditory imagery that preceded singing, as well as during the completion of a visual imagery task. Greater activation was found in laryngeal and lip muscles for auditory than for visual imagery tasks, whereas no differences across tasks were found for other sensors. Furthermore, less accurate singers exhibited greater laryngeal activity during auditory imagery than did more accurate singers. This suggests that subvocalization may be used as a strategy to facilitate auditory imagery, which appears to be degraded in inaccurate singers. Taken together, these results suggest that subvocalization may play a role in anticipatory auditory imagery, and possibly as a way of supplementing motor associations with auditory imagery.

Pitch perception in music: Do scoops matter?

Studies of musical pitch perception typically treat pitches as if they are stable within a tone. Although pitches are represented this way in notation, performed tones are rarely stable, particularly in singing, which is arguably the most common form of melody production. This paper examines how brief dynamic changes at the beginnings and endings of sung pitches, a.k.a. "scoops," influence intonation perception. Across three experiments, 110 participants evaluated the intonation of four-tone melodies in which the third tone's tuning could vary within the central steady-state (the asymptote), or by virtue of scoops at the beginning and/or end of the tone. As expected, listeners were sensitive to mistuning. Importantly, our results also point to unique contributions of scoops. As in the language domain, dynamic changes in a small time window are perceptually significant in music. More specifically, this study revealed the coexistence of two distinct mechanisms: sensitivity to the average pitch across the duration of the tone (assimilating the scoop), and processing the relationship of the scoop to the surrounding context. In addition to clarifying intonation perception in music, the identification of these mechanisms paves the way to cross-domain comparisons and, more generally, to the better understanding of auditory sequences processing. (PsycINFO Database Record (c) 2018 APA, all rights reserved).

Exploring perception-action relations in music production: The asymmetric effect of tonal class.

When playing musical passages, performers integrate the pitch content of auditory feedback with current action plans. However, this process depends on the degree to which the musical structure of the feedback melody is perceived as similar to the structure of what is planned. Four experiments reported here explored the relationship between the tonal class of planned melodies (tonal or atonal) and the sequence of events formed by auditory feedback. Participants produced short melodies from memory that were either tonal (Experiments 1 and 3) or atonal (Experiments 2 and 4). Auditory feedback matched the planned melody with respect to contour but could vary in tonal class. The results showed that when participants planned a tonal melody, atonal feedback was treated as unrelated to the planned sequence. However, when planning an atonal melody, tonal feedback was still treated as similar to the planned sequence. This asymmetric similarity mirrors findings found within the music perception literature and implies that schematic musical knowledge is highly active in determining perception-action relations during music performance.

The Neural Basis of Vocal Pitch Imitation in Humans.

Vocal imitation is a phenotype that is unique to humans among all primate species, and so an understanding of its neural basis is critical in explaining the emergence of both speech and song in human evolution. Two principal neural models of vocal imitation have emerged from a consideration of nonhuman animals. One hypothesis suggests that putative mirror neurons in the inferior frontal gyrus pars opercularis of Broca's area may be important for imitation. An alternative hypothesis derived from the study of songbirds suggests that the corticostriate motor pathway performs sensorimotor processes that are specific to vocal imitation. Using fMRI with a sparse event-related sampling design, we investigated the neural basis of vocal imitation in humans by comparing imitative vocal production of pitch sequences with both nonimitative vocal production and pitch discrimination. The strongest difference between these tasks was found in the putamen bilaterally, providing a striking parallel to the role of the analogous region in songbirds. Other areas preferentially activated during imitation included the orofacial motor cortex, Rolandic operculum, and SMA, which together outline the corticostriate motor loop. No differences were seen in the inferior frontal gyrus. The corticostriate system thus appears to be the central pathway for vocal imitation in humans, as predicted from an analogy with songbirds.

On drawing a line through the spectrogram: how do we understand deficits of vocal pitch imitation?

In recent years there has been a remarkable increase in research focusing on deficits of pitch production in singing. A critical concern has been the identification of "poor pitch singers," which we refer to more generally as individuals having a "vocal pitch imitation deficit." The present paper includes a critical assessment of the assumption that vocal pitch imitation abilities can be treated as a dichotomy. Though this practice may be useful for data analysis and may be necessary within educational practice, we argue that this approach is complicated by a series of problems. Moreover, we argue that a more informative (and less problematic) approach comes from analyzing vocal pitch imitation abilities on a continuum, referred to as effect magnitude regression, and offer examples concerning how researchers may analyze data using this approach. We also argue that the understanding of this deficit may be better served by focusing on the effects of experimental manipulations on different individuals, rather than attempt to treat values of individual measures, and isolated tasks, as absolute measures of ability.

Neurological and developmental approaches to poor pitch perception and production.

Whereas much of research in music and neuroscience is aimed at understanding the mechanisms by which the human brain facilitates music, emerging interest in the neuromusic community aims to translate basic music research into clinical and educational applications. In the present paper, we explore the problems of poor pitch perception and production from both neurological and developmental/educational perspectives. We begin by reviewing previous and novel findings on the neural regulation of pitch perception and production. We then discuss issues in measuring singing accuracy consistently between the laboratory and educational settings. We review the Seattle Singing Accuracy Protocol--a new assessment tool that we hope can be adopted by cognitive psychologists as well as music educators-and we conclude with some suggestions that the present interdisciplinary approach might offer for future research.

Temporal coordination in joint music performance: effects of endogenous rhythms and auditory feedback.

Many behaviors require that individuals coordinate the timing of their actions with others. The current study investigated the role of two factors in temporal coordination of joint music performance: differences in partners' spontaneous (uncued) rate and auditory feedback generated by oneself and one's partner. Pianists performed melodies independently (in a Solo condition), and with a partner (in a duet condition), either at the same time as a partner (Unison), or at a temporal offset (Round), such that pianists heard their partner produce a serially shifted copy of their own sequence. Access to self-produced auditory information during duet performance was manipulated as well: Performers heard either full auditory feedback (Full), or only feedback from their partner (Other). Larger differences in partners' spontaneous rates of Solo performances were associated with larger asynchronies (less effective synchronization) during duet performance. Auditory feedback also influenced temporal coordination of duet performance: Pianists were more coordinated (smaller tone onset asynchronies and more mutual adaptation) during duet performances when self-generated auditory feedback aligned with partner-generated feedback (Unison) than when it did not (Round). Removal of self-feedback disrupted coordination (larger tone onset asynchronies) during Round performances only. Together, findings suggest that differences in partners' spontaneous rates of Solo performances, as well as differences in self- and partner-generated auditory feedback, influence temporal coordination of joint sensorimotor behaviors.