scholarly journals Binaural localization of musical pitch using interaural time differences in congenital amusia

PLoS ONE ◽  
2018 ◽  
Vol 13 (9) ◽  
pp. e0204397
Author(s):  
I-Hui Hsieh ◽  
Ssc-Chen Chen ◽  
Jia-Wei Liu
2020 ◽  
Author(s):  
Dominique T Vuvan ◽  
Marília Nunes-Silva ◽  
Isabelle Peretz

A major theme driving research in congenital amusia is related to the modularity of this musical disorder, with two possible sources of the amusic pitch perception deficit. The first possibility is that the amusic deficit is due to a broad disorder of acoustic pitch processing that has the effect of disrupting downstream musical pitch processing, and the second is that amusia is specific to a musical pitch processing module. To interrogate these hypotheses, we performed a meta-analysis on two types of effect sizes contained within 42 studies in the amusia literature: the performance gap between amusics and controls on tasks of pitch discrimination, broadly defined, and the correlation between specifically acoustic pitch perception and musical pitch perception. To augment the correlation database, we also calculated this correlation using data from 106 participants tested by our own research group. We found strong evidence for the acoustic account of amusia. The magnitude of the performance gap was moderated by the size of pitch change, but not by whether the stimuli were composed of tones or speech. Furthermore, there was a significant correlation between an individual's acoustic and musical pitch perception. However, individual cases show a double dissociation between acoustic and musical processing, which suggests that although most amusic cases are probably explainable by an acoustic deficit, there is heterogeneity within the disorder. Finally, we found that tonal language fluency does not influence the performance gap between amusics and controls, and that there was no evidence that amusics fare worse with pitch direction tasks than pitch discrimination tasks. These results constitute a quantitative review of the current literature of congenital amusia, and suggest several new directions for research, including the experimental induction of amusic behaviour through transcranial magnetic stimulation (TMS) and the systematic exploration of the developmental trajectory of this disorder.


2009 ◽  
Vol 24 (3) ◽  
pp. 141-150
Author(s):  
William J Dawson

The neurobiology of music has been a prolific source of publications in performing arts medicine over the past 15 years. A common research topic in music neurobiology is how humans perceive and process music. This review concentrates on two opposite aspects of pitch processing—heightened ability (absolute pitch) and absent ability (congenital amusia). From the bibliography of performing arts medicine found on the website of the Performing Arts Medicine Association, 165 citations were identified (as of February 2009) that deal with these topics, 149 on absolute pitch and 70 on congenital amusia, and form the basis of this review.


2008 ◽  
Vol 25 (4) ◽  
pp. 331-343 ◽  
Author(s):  
ISABELLE PERETZ ◽  
NATHALIE GOSSELIN ◽  
BARBARA TILLMANN ◽  
LOLA L. CUDDY ◽  
BENOİİT GAGNON ◽  
...  

RECENTLY, WE POINTED OUT THAT A SMALL number of individuals fail to acquire basic musical abilities, and that these deficiencies might have neuronal and genetic underpinnings. Such a musical disorder is now termed "congenital amusia," an umbrella term for lifelong musical disabilities that cannot be attributed to mental retardation, deafness, or lack of exposure. Congenital amusia is a condition that is estimated to affect 4% of the general population. Despite this relatively high prevalence, cases of congenital amusia have been difficult to identify.We present here a novel on-line test that can be used to identify such cases in 15 minutes, provided that the cohort of the participant is taken into account. The results also confirm that congenital amusia is typically expressed by a deficit in perceiving musical pitch but not musical time.


2013 ◽  
Vol 20 (2) ◽  
pp. 159-167
Author(s):  
Cun-Mei JIANG ◽  
Yu-Fang YANG

2012 ◽  
Vol 50 (7) ◽  
pp. 1483-1493 ◽  
Author(s):  
Diana Omigie ◽  
Marcus T. Pearce ◽  
Lauren Stewart
Keyword(s):  

2009 ◽  
Vol 13 (2_suppl) ◽  
pp. 41-61 ◽  
Author(s):  
John C. Bispham

This paper focuses on the question of what music is, attempting to describe those features of music that generically distinguish it from other forms of animal and human communication — music's “design features”. The author suggests that music is generically inspired by musical motivation — an intrinsic motivation to share convergent intersubjective endstates - and is universally identifiable by the presence of musical pulse — a maintained and volitionally controlled attentional pulse — and/or musical pitch — a system for maintaining certain relationships between pitches. As such music's design features are viewed as providing an interpersonal framework for synchronous and group affective interaction. The implications of this approach to an evolutionary perspective on music and on arguments of the primary evolutionary functionality of musical abilities in human evolution are discussed.


Nature ◽  
1938 ◽  
Vol 142 (3601) ◽  
pp. 820-821 ◽  
Author(s):  
G. W. C. KAYE

2008 ◽  
Vol 25 (4) ◽  
pp. 357-368 ◽  
Author(s):  
ANIRUDDH D. PATEL ◽  
MEREDITH WONG ◽  
JESSICA FOXTON ◽  
ALIETTE LOCHY ◽  
ISABELLE PERETZ

TO WHAT EXTENT DO MUSIC and language share neural mechanisms for processing pitch patterns? Musical tone-deafness (amusia) provides important evidence on this question. Amusics have problems with musical melody perception, yet early work suggested that they had no problems with the perception of speech intonation (Ayotte, Peretz, & Hyde, 2002). However, here we show that about 30% of amusics from independent studies (British and French-Canadian) have difficulty discriminating a statement from a question on the basis of a final pitch fall or rise. This suggests that pitch direction perception deficits in amusia (known from previous psychophysical work) can extend to speech. For British amusics, the direction deficit is related to the rate of change of the final pitch glide in statements/ questions, with increased discrimination difficulty when rates are relatively slow. These findings suggest that amusia provides a useful window on the neural relations between melodic processing in language and music.


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