Absolute pitch: Myths, evidence and relevance to music education and performance

2019 ◽  
Vol 47 (6) ◽  
pp. 890-901
Author(s):  
Jill Carden ◽  
Tony Cline

The assumed extreme rarity of absolute pitch (AP), sometimes known as “perfect pitch”, is not supported by empirical evidence. Instead, studies indicate a prevalence of at least 4% for music students, making AP of potential importance to everyday music education. Considerable scientific curiosity about AP exists, though rarely have research findings been practically applied to music education. This review looks at the evidence of the origins of AP and of the distinct neurological, language and cognitive features of possessors, and considers the relevance of these to music students. The absence of systematically gathered data from those with AP about their experiences is discussed, and implications for the educational needs of this group considered.

2018 ◽  
Vol 36 (2) ◽  
pp. 135-155 ◽  
Author(s):  
Ken'ichi Miyazaki ◽  
Andrzej Rakowski ◽  
Sylwia Makomaska ◽  
Cong Jiang ◽  
Minoru Tsuzaki ◽  
...  

Absolute pitch (AP)—an ability to identify an isolated pitch without musical context—is commonly believed to be a valuable ability for musicians. However, relative pitch (RP)—an ability to perceive pitch relations—is more important in most musical contexts. In this study, music students in East Asian and Western countries (Japan, China, Poland, Germany, and USA) were tested on AP and RP abilities. In the AP test, 60 single tones were presented in a quasirandom order over a five-octave range. In the RP test, ascending musical intervals from 1 to 11 semitones were presented in four different keys. Participants wrote down note names in the AP test and scale-degree names or musical interval names in the RP test. The conservatory-level Japanese students showed the highest AP performance and more than half of them were classified as accurate AP possessors, but only 10% were classified as accurate RP possessors. In contrast, only a small percentage of participants from Poland, Germany, and the USA were identified as accurate AP possessors, whereas many more were accurate RP possessors. Participants from China were typically intermediate on both measures. These noticeable contrasts between AP and RP performance in different countries suggest influences of the underlying socio-cultural conditions, presumably relating to music education. Given the importance of RP in music, the results suggest that more emphasis should be place on RP training, particularly in East Asian countries.


2014 ◽  
Vol 18 (6) ◽  
pp. 1101-1126 ◽  
Author(s):  
Peter Massingham

Purpose – This paper aims to evaluate a range of best practice knowledge management (KM) ideas used to manage knowledge flows and enablers. In total, four KM toolkits and 23 KM tools were tested over a five-year period (2008-2013), as part of a large-scale longitudinal change project. Each tool was assessed against an evaluative framework designed to test criticisms of KM: strategy, implementation and performance. The results provide empirical evidence about what KM tools work and which do not and why, and outcomes for practitioners, researchers and consultants. Design/methodology/approach – This paper presents a summary of the findings of a large Australian Research Council (ARC) Linkage Project grant in the period of 2008-2013. The case study organisation (CSO) was a large public sector department, which faced the threat of lost capability caused by its ageing workforce and knowledge loss. The project aimed to solve this problem by minimising its impact via achieving learning organisation capacity. The CSO participating in the study was selected because it was a knowledge-intensive organisation, with an ageing workforce. All 150 engineering and technical staff at the CSO were invited to participate, including management and staff. An action research methodology was used. Findings – The results provide empirical evidence that KM can be used to manage knowledge flows and enablers. The highest rating toolkit was knowledge preservation, followed by knowledge usage. The most value was created by using KM to provide “why context” to structural capital (e.g. reports, databases, policies) (meta-data) and to create opportunities to reflect on experience and share the learning outcomes (peer assists and after action reviews). The results tended to support criticism that KM is difficult to implement and identified the main barriers as participation located at the tactical action research level, i.e. why is this useful? Evidence that KM works was found in progress towards learning organisation capacity and in practical outcomes. Research limitations/implications – The action research cycle and learning flows provide opportunities to examine barriers to KM implementation. The research also presents opportunities for further research to examine the findings in other organisational and industry settings, for example, the relationship between the KM toolkits and organisational change and performance, presents an important area for further research. Researchers might also consider some of the toolkits which rated poorly, e.g. knowledge sharing, and challenge these findings, perhaps selecting different KS tools for testing. The paper has limitations. It is based on a single case study organisation, offset, to some degree, by the longitudinal nature of the empirical evidence. It is ambitious and the findings may be controversial. However, the depth of the study and its findings provide rare longitudinal empirical evidence about KM and the results should be useful for practitioners, researchers and consultants. Practical implications – For practitioners, the research findings provide management with an evaluative framework to use when making decisions regarding KM. The findings provide discussion of KM toolkits and tools that may be used to manage knowledge flows and enablers. In addition to the discussion of each tool, there is analysis of what works and what does not and why, barriers to implementation as well as explanation of their impact on organisational change and performance, and a scorecard to guide toolkit choices. This method should allow managers to make sensible decisions about KM. Originality/value – The paper addresses criticisms of KM by examining the KM toolkits within the context of whether knowledge can be managed, implementation barriers may be addressed and improved organisational performance can be demonstrated. This approach allows generalisability of the findings to enable others to apply the research findings in their organisational contexts. The outcome is three sets of guidelines: strategy: which KM tools work; implementation: addressing barriers; and organisational performance: how to measure value. In doing so, the paper provides a systematic framework for evaluating KM tools. It also provides a rare opportunity to present empirical evidence gathered over a five-year longitudinal study.


Author(s):  
Irina G. Andreeva ◽  
Maria Dymnikowa ◽  
Elena A. Ogorodnikova ◽  
Valentin I. Petrushin

Absolute (perfect) pitch is defined as the ability to identify and categorize a musical pitch - tone frequency by its name in the musical equal temperament tuning system without an external reference tone.    The article presents absolute pitch process as long-term working semantic musical memory with musical executive function included in musical practical activity, with the description of similarities between music and language structure in music cognitive neuropsychology studies’ evidence, as a background for cognitive neuropsychological possibilities of its generally available development. The article describes methodological assumptions’ content of empirically developed aural behavioral psychological memory training method ‘absolute pitch ecological practical activity’ (APEPA) for childhood and youth age, based on working memory span, aural cognitive learning ability in music education and performance activity, in cognitive music neuropsychology field. 


2021 ◽  
Vol 3 (3) ◽  
pp. 548-562
Author(s):  
Yavuz Selim Kaleli

Self-regulatory skill is one of the important factors affecting academic orientation and performance of learners at all levels in learning-teaching processes. The aim of this study is to compare the self-regulatory skills of pre-service teachers studying in music education departments based on the variables of gender, class, overall achievement and performance in individual instruments lessons. The study was conducted with 198 Pre-service Music Teachers studying at Necmettin Erbakan University and Gazi University. Data were collected by using Academic Self-regulatory Skills Scale. Research findings showed that pre-service music teachers’ self-regulatory skills differed based on the variables of year of study, achievement levels in individual instrument lessons and overall academic achievement. It was found that students with high academic achievement levels had effective self-regulatory skills. However, no significant difference was found between the self-regulatory skills of male and female pre-service music teachers.


Author(s):  
Lesley S. McAllister

The ancient practice of yoga, which has exploded in popularity in the United States over the past two decades, has the potential to help music students learn to practice more mindfully and reach peak performance more quickly. This book explores how professional musicians and music teachers of all instruments and levels can use yoga postures (asana) and breath work (pranayama) to enhance artistry. It begins with an overview of yoga philosophy and history before delving into principles of movement, alignment, anatomy, and breath. Following a research-oriented chapter illustrating the cognitive, physical, and emotional benefits of yoga, each chapter explores the unique benefits of yoga for a particular population of students, describing specific poses, modifications, sequences, and sample curricula that teachers can immediately implement into private lessons or group classes. Chapter Four describes the developmental benefits of yoga and music education in early childhood and includes a sample eight-week preschool music curriculum. Chapter Five on the adolescent student explains how yoga can alleviate stress related to social and performance anxiety, enhance mindfulness, and increase peer support in a music studio. Chapter Six, for professional musicians and college students, describes how yoga can prevent or alleviate repetitive stress injuries and other physical symptoms. The final chapter offers ideas for appropriate modifications for the retired adult along with a sample eight-week curriculum to combine yoga with Recreational Music Making. Throughout the book, yoga is presented as a tool for reducing physical tension and anxiety while simultaneously improving body awareness, enhancing cognition, and helping music students to achieve peak performance.


2004 ◽  
Vol 21 (1) ◽  
pp. 81-87 ◽  
Author(s):  
Gordon D. Atlas ◽  
Terry Taggart ◽  
Debra J. Goodell

Music education inherently relies on a process of providing and receiving critical feedback. Students who are very sensitive to criticism, however, may present a unique challenge for the music educator. This study investigated the ways in which sensitivity to criticism affects the educational experience of music students. Nineteen students were assessed for sensitivity to criticism, self-reported motivation, and perceived quality of performance early and late in the semester. High scores on the Sensitivity to Criticism Scale (Atlas, 1994) were associated with decreases in ratings of importance of the activity and mildly connected with decreases in enjoyment and confidence levels. Highly sensitive students were more hurt by their instructors’ criticisms, felt they improved less in response to criticism, and found it more difficult to communicate with the instructor following criticism. These results suggest that being sensitive to criticism can have an impact on music students’ motivation and performance – and that instructors should be particularly careful in considering the effects that critical feedback may have on highly sensitive students.


2011 ◽  
Vol 36 (2) ◽  
pp. 251-266 ◽  
Author(s):  
Andrzej Rakowski ◽  
Piotr Rogowski

AbstractThis paper has two distinct parts. Section 1 includes general discussion of the phenomenon of "absolute pitch" (AP), and presentation of various concepts concerning definitions of "full", "partial" and "pseudo" AP. Sections 2-4 include presentation of the experiment concerning frequency range in which absolute pitch appears, and discussion of the experimental results. The experiment was performed with participation of 9 AP experts selected from the population of 250 music students as best scoring in the pitch-naming piano-tone screening tests. Each subject had to recognize chromas of 108 pure tones representing the chromatic musical scale of nine octaves from E0 to D#9. The series of 108 tones was presented to each subject 60 times in random order, diotically, with loudness level about 65 phon. Percentage of correct recognitions (PC) for each tone was computed. The frequency range for the existence of absolute pitch in pure tones, perceived by sensitive AP possessors stretches usually over 5 octaves from about 130.6 Hz (C3) to about 3.951 Hz (B7). However, it was noted that in a single case, the upper boundary of AP was 9.397 Hz (D9). The split-halves method was applied to estimate the reliability of the obtained results.


Author(s):  
Olesya V. Arzamastseva ◽  
Larisa A. Tyurina

The urgency of vocational training for pop-jazz musicians is substantiated. The aim of the study is to determine the necessary components in the work on professional sound production in the process of teaching pop-jazz vocal, as well as to demonstrate some ways to increase the effi-ciency of work on sound in the classroom. The issues of the development of a professional singing voice in the process of teaching pop-jazz performance are considered. The research methods in-cluded: study of special literature, analysis and generalization of research and pedagogical expe-rience of the work of leading specialists in the field of music education and performance. The high degree of influence of the level of professional training of performers-vocalists on the national musical culture is proved. Practical recommendations for work on singing sound production in the process of professional training of pop-jazz singers in modern music educational institutions are presented.


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