Absolute pitch, besides the psychological and neurological interests it has, raises some conceptual difficulties that can teach us about the richness of our notion of musical tone and various aspects of its identification. It is argued that when AP is conceived under a slim notion of identifying the pitch of a crude sound, it is hardly meaningful and has no significance in music comprehension. The rich notion, which is the meaningful and important one, involves knowing the position of (...) a tone in a tone-space and its relations. This is presented as experiential: hearing and identifying tones under concepts and relations that are experienced rather than figured out or derived on the basis of crude identification of bare tones. Since many of these concepts and relations are musically meaningful, this rich notion of identification is thus connected to musical understanding and aesthetic appreciation of a musical work. It may also be claimed to be vital in passing between different sense modalities, and can explain various aspects of AP and puzzles connected with it. (shrink)

Some sounds have pitch, some do not. A tuba’s notes are lower pitched than a flute’s, but the fuzz from an untuned radio has no discernible pitch. Pitch is an attribute in virtue of which sounds that possess it can be ordered from “low” to “high”. Given how audition works, physics has taught us that frequency determines what pitch a sound auditorily appears to have.

Although the presence or absence of a pitch accent clearly can play an important role in signaling the discourse and information structure of an utterance, whether the form of an accent determines the type of information it conveys is more controversial. We used an eye‐tracking paradigm to investigate whether H*, which has been argued to signal new information, evokes different eye fixations than L+H*, which has been argued to signal the presence of contrast. Our results demonstrate that although listeners (...) interpret these accents differently, their interpretive domains overlap. L+H* creates a strong bias toward contrast referents whereas H* is compatible with both new and contrast referents. (shrink)

This paper examines the representationalist view of experiences in the light of the phenomena of perfect and relative pitch. Two main kinds of representationalism are identified - environment-based and cognitive role-based. It is argued that to explain the relationship between the two theories a distinction should be drawn between various types of implicit and explicit content. When investigated, this distinction sheds some light on the difference between the phenomenology of perfect and relative pitch experiences and may be usefully (...) applied to describe the nature of experiences in the other sense modalities. (shrink)

Height-pitch associations are claimed to be universal and independent of language, but this claim remains controversial. The present study sheds new light on this debate with a multimodal analysis of individual sound and melody descriptions obtained in an interactive communication paradigm with speakers of Dutch and Farsi. The findings reveal that, in contrast to Dutch speakers, Farsi speakers do not use a height-pitch metaphor consistently in speech. Both Dutch and Farsi speakers’ co-speech gestures did reveal a mapping of (...) higher pitches to higher space and lower pitches to lower space, and this gesture space-pitch mapping tended to co-occur with corresponding spatial words (high-low). However, this mapping was much weaker in Farsi speakers than Dutch speakers. This suggests that cross-linguistic differences shape the conceptualization of pitch and further calls into question the universality of height-pitch associations. (shrink)

In Cavell (1994), the ability to follow and produce Austinian examples of ordinary language use is compared with the faculty of perfect pitch. Exploring this comparison, I clarify a number of central and interrelated aspects of Cavell's philosophy: (1) his way of understanding Wittgenstein's vision of language, and in particular his claim that this vision is "terrifying," (2) the import of Wittgenstein's vision for Cavell's conception of the method of ordinary language philosophy, (3) Cavell's dissatisfaction with Austin, and in (...) particular his claim that Austin is not clear about the nature and possible achievements of his own philosophical procedures, and (4) Cavell's notion that the temptation of skepticism is perennial and incurable. Cavell's reading of Wittgenstein is related to that of John McDowell. Like McDowell, Cavell takes Wittgenstein to be saying that the traditional attempt to justify our practices from an external standpoint is misguided, since such detachment involves losing sight of those conceptual and perceptual capacities in terms of which a practice is understood by its engaged participants. Unlike McDowell, however, Cavell consistently rejects the idea that philosophical clearsightedness can or should free us from that fear of groundlessness which motivates the traditional search for external justification. (shrink)

Pitch is an audible quality of sound which can be explained not only in terms of strong correlation with sound waves’ properties, but also by a neat correlation to the properties of the sounding object. This seems to be in favour of the theory of sound labelled “distal view”, according to which sound is the vibration of the sounding object.

The ongoing generation of expectations is fundamental to listeners’ experience of music, but research into types of statistical information that listeners extract from musical melodies has tended to emphasize transition probabilities and n‐grams, with limited consideration given to other types of statistical learning that may be relevant. Temporal associations between scale degrees represent a different type of information present in musical melodies that can be learned from musical corpora using expectation networks, a computationally simple method based on activation and decay. (...) Expectation networks infer the expectation of encountering one scale degree followed in the near (but not necessarily immediate) future by another given scale degree, with previous work suggesting that scale degree associations learned by expectation networks better predict listener ratings of pitch similarity than transition probabilities. The current work outlines how these learned scale degree associations can be combined to predict melodic continuations and tests the resulting predictions on a dataset of listener responses to a musical cloze task previously used to compare two other models of melodic expectation, a variable‐order Markov model (IDyOM) and Temperley's music‐theoretically motivated model. Under multinomial logistic regression, all three models explain significant unique variance in human melodic expectations, with coefficient estimates highest for expectation networks. These results suggest that generalized scale degree associations informed by both adjacent and nonadjacent relationships between melodic notes influence listeners’ melodic predictions above and beyond n‐gram context, highlighting the need to consider a broader range of statistical learning processes that may underlie listeners’ expectations for upcoming musical events. (shrink)

This paper presents a novel account of focal stress and pitch contour in English dialogue. We argue that one should analyse and treat focus and pitch contour jointly, since (i) some pragmatic interpretations vary with contour (e.g., whether an utterance accepts or rejects; or whether it implicates a positive or negative answer); and (ii) there are utterances with identical prosodic focus that in the same context are infelicitous with one contour, but felicitous with another. We offer an account (...) of two distinct pitch contours that predicts the correct felicity judgements and implicatures, outclassing other models in empirical coverage or formality. Prosodic focus triggers a presupposition, where what is presupposed and how the presupposition is resolved depends on prosodic contour. If resolving the presupposition entails the proffered content, then the proffered content is uninteresting and hence the utterance is in-felicitous. Otherwise, resolving the presupposition may lead to an implicature. We regiment this account in SDRT. (shrink)

In this study, Limburgian and Dutch 2,5- to 4-year-olds and adults took part in a word learning experiment. Following the procedure employed by Quam and Swingley (2010) and Singh et al. (2014), participants learned two novel word-object mappings. After training, word recognition was tested in correct pronunciation (CP) trials and mispronunciation (MP) trials featuring a pitch change. Since Limburgian is considered a restricted tone language, we expected that the pitch change would hinder word recognition in Limburgian, but not (...) in non-tonal Dutch listeners. Contrary to our expectations, both Limburgian and Dutch children appeared to be sensitive to pitch changes in newly learned words, indicated by a significant decrease in target fixation in MP trials compared to CP trials. Limburgian and Dutch adults showed very strong naming effects in both trial types. The results are discussed against the background of the influence of the native prosodic system. (shrink)

Cognitive Science, Volume 46, Issue 2, February 2022.

Previous work demonstrated that dynamic pitch (i.e., pitch variation in speech) aids speech recognition in various types of noises. While this finding suggests dynamic pitch enhancement in target speech can benefit speech recognition in noise, it is of importance to know what noise characteristics affect dynamic pitch benefit and who will benefit from enhanced dynamic pitch cues. Following our recent finding that temporal modulation in noise influences dynamic pitch benefit, we examined the effect of (...) speech masker characteristics on dynamic pitch benefit. Specifically, the first goal of the study was to test the hypothesis that dynamic pitch benefit varies depending on the availability of pitch cues in the masker and the intelligibility of masker. The second goal of this study was to investigate whether older listeners as a group can benefit from dynamic pitch for speech recognition in speech maskers. In addition, individual factors of hearing loss and working memory capacity were examined for their impact on older listeners’ dynamic pitch benefit. Twenty-three younger listeners with normal hearing and 37 older listeners with varying levels of hearing sensitivity participated the study, in which speech reception thresholds were measured with sentences in speech maskers. While we did not find an effect of masker characteristics on dynamic pitch benefit, the results showed older listeners can benefit from dynamic pitch for recognizing speech in speech maskers. The data also suggest that among those older listeners with hearing loss, dynamic pitch benefit is stronger for individuals with higher working memory capacity. This can be attributed to their ability to exploit facilitated lexical access in processing of degraded speech signal. (shrink)

BackgroundReflexive pitch perturbation experiments are commonly used to investigate the neural mechanisms underlying vocal motor control. In these experiments, the fundamental frequency–the acoustic correlate of pitch–of a speech signal is shifted unexpectedly and played back to the speaker via headphones in near real-time. In response to the shift, speakers increase or decrease their fundamental frequency in the direction opposing the shift so that their perceived pitch is closer to what they intended. The goal of the current work (...) is to develop a quantitative model of responses to reflexive perturbations that can be interpreted in terms of the physiological mechanisms underlying the response and that captures both group-mean data and individual subject responses.MethodsA model framework was established that allowed the specification of several models based on Proportional-Integral-Derivative and State-Space/Directions Into Velocities of Articulators (DIVA) model classes. The performance of 19 models was compared in fitting experimental data from two published studies. The models were evaluated in terms of their ability to capture both population-level responses and individual differences in sensorimotor control processes.ResultsA three-parameter DIVA model performed best when fitting group-mean data from both studies; this model is equivalent to a single-rate state-space model and a first-order low pass filter model. The same model also provided stable estimates of parameters across samples from individual subject data and performed among the best models to differentiate between subjects. The three parameters correspond to gains in the auditory feedback controller’s response to a perceived error, the delay of this response, and the gain of the somatosensory feedback controller’s “resistance” to this correction. Excellent fits were also obtained from a four-parameter model with an additional auditory velocity error term; this model was better able to capture multi-component reflexive responses seen in some individual subjects.ConclusionOur results demonstrate the stereotyped nature of an individual’s responses to pitch perturbations. Further, we identified a model that captures population responses to pitch perturbations and characterizes individual differences in a stable manner with parameters that relate to underlying motor control capabilities. Future work will evaluate the model in characterizing responses from individuals with communication disorders. (shrink)

He pays suitable attention to a serious ally and antagonist to the task of philosophy as he understands it, namely, Jacques Derrida - yet Derrida has mounted a full-scale attack on "voice" and other concepts that Cavell has held open for much of a lifetime.

Three experiments explored online recognition in a nonspeech domain, using a novel experimental paradigm. Adults learned to associate abstract shapes with particular melodies, and at test they identified a played melody’s associated shape. To implicitly measure recognition, visual fixations to the associated shape versus a distractor shape were measured as the melody played. Degree of similarity between associated melodies was varied to assess what types of pitch information adults use in recognition. Fixation and error data suggest that adults naturally (...) recognize music, like language, incrementally, computing matches to representations before melody offset, despite the fact that music, unlike language, provides no pressure to execute recognition rapidly. Further, adults use both absolute and relative pitch information in recognition. The implicit nature of the dependent measure should permit use with a range of populations to evaluate postulated developmental and evolutionary changes in pitch encoding. (shrink)

Terms for the pitch of tones, such as 'high-low' do not describe pitch and can interfere with our apprehending such data for what they are in their sensuous uniqueness. Very different alternatives such as 'narrow-broad' or French aigu-grave serve equally well. In listening to music the first requisite is the apprehension of 'uncategorized' tones, the words for them serving only as a way of marking the fact of their differences. This must lead us to reaffirm what was said (...) by Gorgias about what language can and cannot do in respect of such data. (shrink)

Parallels between the mathematics of tiling, which describes geometries of visual space, and neo-Riemannian theory, which describes geometries of musical space, make it possible to show that certain paradoxes featured in the visual artworks of M. C. Escher also appear in the pitch space modelled by the neo-Riemannian Tonnetz . This article makes these paradoxes visually apparent by constructing an embodied model of triadic pitch space in accordance with principles drawn from the mathematics of tiling, on the one (...) hand, and from cognitive science, on the other – specifically, the notion that our experience of pitch relationships is governed in part by the metaphorical projection of patterns abstracted from embodied experience known as image schemas. These paradoxes are illustrated with reference to passages drawn from four compositions to whose expressive character such paradoxes contribute: the fifteenth-century motet 'Absalon fili mi'; the finale of Haydn's String Quartet in G major, Op. 76 No. 1; Brahms's Intermezzo in B minor, Op. 119 No. 1; and Wagner's Parsifal. (shrink)