scholarly journals Number 13 / Part I. Music. 7. Grounds of Absolute Pitch Development in Yamaha Music School

2017 ◽  
Vol 13 (1) ◽  
pp. 60-65
Author(s):  
Dorina Iușcă
Keyword(s):  
Music Education ◽  
Musical Training ◽  
Absolute Pitch ◽  
Music School ◽  
Tone Language ◽  
External Reference ◽  
Educational Implications ◽  
Didactic Strategies ◽  
Early Training ◽  
The Way

Abstract Absolute pitch is defined as the ability to identify the pitch class of a certain given sound without the aid of an external reference pitch (Takeuchi & Hulse, 1993; Deutsch, 2002). The incidence of absolute pitch is extremely rare among the general population, respectively 1 in 10.000 people and it depends on testing conditions such as the number of identified sounds, pitch Chroma, pitch height, timbre, register or requested reaction time, and also on subjects musical training commencing and Eastern-Asian origins. The way absolute pitch develops is described by three models: the tone language theory, the early training theory and the genetic theory. The early training theory states that absolute pitch appears due to the beginning of musical lessons during a critical development period situated before the age of 6. The educational implications of this theory are revealed in the principles and activities of Yamaha Music School which employs didactic strategies that naturally develop absolute pitch. Yamaha Music School is the largest private music education system from Japan, established by Torakusu Yamaha in 1954. Up to this day it has extended in 40 countries from Europe, Asia and the American continents, as it has about 710 million students and 30.000 teachers. The present study aims to illustrate a detailed analysis of the way the learning experiences offered by Yamaha School lead to the development of absolute pitch.

The Origins of Music and of Tonal Languages

2019 ◽  
pp. 220-244
Author(s):  
Robert C. Ehle
Keyword(s):  
Absolute Pitch ◽  
Perinatal Period ◽  
Final Part ◽  
Specific Information ◽  
Tonal Language ◽  
Tone Language ◽  
The Voice ◽  
Musical Emotion ◽  
The Brain ◽  
The Way

This chapter offers the author's theory of the origins of music in ancient primates a million years ago, and what music would have sounded like. Origins of nasal and tone languages and the anatomy of larynx is discussed, and then a hypothesis is presented that these creatures would fashioned a tone language. They had absolute pitch that allowed them to recognize other voices, to read each other's emotions from the sounds they made with their voices, and to convey over long distances specific information about strategies, meeting places, etc. Having an acute sense of pitch, they would have sung, essentially using tonal language for aesthetic and subjective purposes. Thus, they would have invented music. Then the physicality of the human (or hominid) voice is discussed and the way an absolute pitch can be acquired, as the musicality still lies in the vocalisms it expresses. The reason for this is that music is actually contained in the way the brain works, and the ear and the voice are parts of this system. The final part discusses the origins of musical emotion as the case for imprinting in the perinatal period.

Absolute pitch learning in adults speaking non-tonal languages

2020 ◽  
Vol 73 (11) ◽  
pp. 1908-1920
Author(s):  
Yetta Kwailing Wong ◽  
Vince SH Ngan ◽  
Leo YT Cheung ◽  
Alan C-N Wong
Keyword(s):  
Early Childhood ◽  
Musical Training ◽  
Absolute Pitch ◽  
Tonal Language ◽  
Relative Pitch ◽  
External Reference ◽  
Small Pitch ◽  
Early Childhood Experience ◽  
Language Exposure

Absolute pitch (AP) refers to labelling individual pitches in the absence of external reference. A widely endorsed theory regards AP as a privileged ability enjoyed by selected few with rare genetic makeup and musical training starting in early childhood. However, recent evidence showed that even adults can learn AP, and some can attain a performance level comparable to natural AP possessors. These training studies involved native tonal language speakers, whose acquisition of AP might be facilitated by tonal language exposure during early childhood. In this study, adults speaking non-tonal languages went through AP training that was 20-hr long, computerised and personalised. Performance on average improved, which was accompanied by enhanced working memory for tones, whereas relative pitch judgement and sensitivity to small pitch differences remained unchanged. Notably, two out of 13 learned to label all 12 pitches within an octave, with accuracy and response time comparable to natural AP possessors. Overall, the findings suggest that tonal language exposure is not a prerequisite for AP learning in adulthood. The understanding of the origin of AP would benefit from considering the role of lifelong learning instead of focusing only on early childhood experience.

scholarly journals Reconstruction of the national children’s music school lifestyle of the late XX — early XXI centuries

2020 ◽  
Author(s):  
Б.В. Куприянов
Keyword(s):  
Music Education ◽  
Way Of Life ◽  
Children's Music ◽  
Educational Organization ◽  
Music School ◽  
National System ◽  
History Of ◽  
The Way

Автор исследует массовую детскую музыкальную школу в контексте истории зарождения и развития отечественной системы начального музыкального образования, анализируя уклад жизни образовательной организации, его исторический прообраз и образ в современных исследованиях. The author examines the mass children’s music school in the context of the history of the origin and development of the national system of primary music education, analyzing the way of life of the educational organization, its historical prototype and image in modern research.

The Origin of Music

2018 ◽  
pp. 36-50
Author(s):  
Robert C. Ehle
Keyword(s):  
Absolute Pitch ◽  
Specific Information ◽  
Tonal Language ◽  
Tone Language ◽  
Tone Languages ◽  
The Voice ◽  
The Brain ◽  
The Way

This chapter offers the author's theory of the origins of music in ancient primates a million years ago, and how would music have sounded like. Origins of nasal and tone languages and the anatomy of larynx is discussed, and then a hypothesis is presented that these creatures would fashioned a tone language, they had absolute pitch that allowed them to recognize each other voices and to read each other's emotions from the sounds they made with their voices, and to convey specific information about strategies, meeting places, etc. over these distances. Having an acute sense of pitch, they would have sung, essentially using tonal language for aesthetic and subjective purposes. Thus, they would have invented music. Then the physicality of the human (or hominid) voice is discussed and the way an absolute pitch can be acquired, as the musicality still lies in the vocalisms it expresses. The reason for this is that music is actually contained in the way the brain works, and the ear and the voice are parts of this system.

The Mystery of Absolute Pitch

2019 ◽  
pp. 82-102
Author(s):  
Diana Deutsch
Keyword(s):  
United States ◽  
Critical Period ◽  
Genetic Factor ◽  
Musical Training ◽  
Absolute Pitch ◽  
The United States ◽  
Musical Note ◽  
Tone Language ◽  
Music Lessons ◽  
Brain Circuitry

Chapter 6. discusses absolute pitch (or “perfect pitch”)—the rare ability to name a musical note in the absence of a reference note. It is argued that acquiring absolute pitch requires exposure to certain environmental influences during a critical period early in life. This ability is associated with early musical training—and the earlier the onset of training the stronger the association. The author and her coworkers have found at music conservatories and universities in the United States and China that the earlier students had begun taking music lessons, the greater the probability that they possessed absolute pitch. We also found that the prevalence of absolute pitch is much higher among people who speak a tone language—in which the meaning of a word changes depending on the pitch or pitches in which it is spoken. It is therefore argued that when babies learn to speak a tone language, they automatically associate pitches with words, and so develop absolute pitch for the words they hear. Therefore when they begin taking music lessons, their brain circuitry for absolute pitch is already in place. Speakers of non-tone languages are therefore at a disadvantage compared with tone-language speakers for acquiring absolute pitch. Further work by the author and colleagues also point to a genetic factor in acquiring absolute pitch. Also discussed are the neurological correlates of absolute pitch, and its presence in some autistic savants, and in people who are blind. It also considers the decline of absolute pitch with aging, and distortions in absolute pitch judgment under certain medications.

scholarly journals Is it impossible to acquire absolute pitch in adulthood?

2018 ◽  
Author(s):  
Yetta Kwailing Wong ◽  
Kelvin F. H. Lui ◽  
Ken H.M. Yip ◽  
Alan C.-N. Wong
Keyword(s):  
Critical Period ◽  
Small Sample Size ◽  
Musical Training ◽  
Continuous Distribution ◽  
Absolute Pitch ◽  
Small Sample ◽  
Sustained Improvement ◽  
External Reference ◽  
Genetic Makeup

AbstractAbsolute pitch (AP) refers to the rare ability to name the pitch of a tone without external reference. It is widely believed that AP is only for the selected few with rare genetic makeup and early musical training during the critical period. Accordingly, acquiring AP in adulthood is impossible. Previous studies have not offered a strong test of the effect of training because of issues like small sample size and insufficient training. In three experiments, adults learned to name pitches in a computerized and personalized protocol for 12 to 40 hours. They improved considerably, with a continuous distribution of learning progress among them. 14% of the participants (6 out of 43) were able to name twelve pitches at accuracy of 90% or above, comparable to that of ‘AP possessors’ as defined in the literature. In general, AP learning showed classic characteristics of perceptual learning, including generalization of learning dependent on the training stimuli, and sustained improvement for at least one to three months. Overall, the finding that AP continues to be learnable in adulthood calls for reconsidering the role of learning in the occurrence of AP. The finding also pushes the field to pinpoint and explain, if any, the differences between the aspects of AP more trainable in adulthood and the aspects of AP that are potentially exclusive for the few exceptional AP possessors.

The impact of a music education program on meta-musical awareness, logical-mathematical, and notational skills in preschoolers

2021 ◽  
pp. 025576142110272
Author(s):  
Oriana Incognito ◽  
Laura Scaccioni ◽  
Giuliana Pinto
Keyword(s):  
Music Education ◽  
Education Program ◽  
Cognitive Abilities ◽  
Musical Training ◽  
Control Group ◽  
Transfer Of Knowledge ◽  
General Domain ◽  
Music Program ◽  
Before And After ◽  
The Impact

A number of studies suggest a link between musical training and both specific and general cognitive abilities, but despite some positive results, there is disagreement about which abilities are improved. This study aims to investigate the effects of a music education program both on a domain-specific competence (meta-musical awareness), and on general domain competences, that is, cognitive abilities (logical-mathematical) and symbolic-linguistic abilities (notational). Twenty 4- to 6-year-old children participated in the research, divided into two groups (experimental and control) and the measures were administered at two different times, before and after a 6-month music program (for the experimental group) and after a sports training program (for the control group). Children performed meta-musical awareness tasks, logical-mathematical tasks, and emergent-alphabetization tasks. Non-parametric statistics show that a music program significantly improves the development of notational skills and meta-musical awareness while not the development of logical-mathematical skills. These results show that a musical program increases children’s meta-musical awareness, and their ability to acquire the notational ability involved in the invented writing of words and numbers. On the contrary, it does not affect the development of logical skills. The results are discussed in terms of transfer of knowledge processes and of specific versus general domain effects of a musical program.

Becoming an Anti-Racist Music Educator: Resisting Whiteness in Music Education

2021 ◽  
Vol 107 (4) ◽  
pp. 14-20
Author(s):  
Juliet Hess
Keyword(s):  
Music Education ◽  
Music Educators ◽  
Music Educator ◽  
The Way

In this article, I propose some ways that music educators might become anti-racist. I explore the ways that Whiteness manifests in music education and subsequently examine actions we might take to resist this Whiteness. Ultimately, I suggest anti-racism as a way forward for music education. I delineate some of the ways that Whiteness operates in music education, not to discourage educators but rather to encourage us to notice the way Whiteness pervades our field.

Absolute Pitch and Relative Pitch in Music Students in the East and the West

2018 ◽  
Vol 36 (2) ◽  
pp. 135-155 ◽  
Author(s):  
Ken'ichi Miyazaki ◽  
Andrzej Rakowski ◽  
Sylwia Makomaska ◽  
Cong Jiang ◽  
Minoru Tsuzaki ◽  
...  
Keyword(s):  
Music Education ◽  
East Asian ◽  
Absolute Pitch ◽  
Music Students ◽  
Asian Countries ◽  
Japanese Students ◽  
Relative Pitch ◽  
Cultural Conditions ◽  
The Usa ◽  
Musical Context

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.

scholarly journals PITCH MEMORY AND EXPOSURE EFFECTS: Statistical learning and the effects of implicit "absolute pitch" on the perception and evaluation of music

2018 ◽  
Author(s):  
Moshe Shay Ben-Haim ◽  
Zohar Eitan ◽  
Eran Chajut
Keyword(s):  
Cognitive Processes ◽  
Musical Training ◽  
Absolute Pitch ◽  
Considerable Proportion ◽  
Long Term Memory ◽  
Frequency Of Occurrence ◽  
Auditory Cognition ◽  
Musical Cognition ◽  
Pitch Frequency

Recent studies indicate that the ability to represent absolute pitch values in long-term memory (LTM), long believed to be the possession of a small minority of trained musicians endowed with "absolute pitch" (AP), is in fact shared to some extent by a considerable proportion of the population. The current study examined whether this newly discovered ability affects aspects of music and auditory cognition, particularly pitch learning and evaluation. Our starting points are two well established premises: (1) frequency of occurrence has an influence on the way we process stimuli; (2) in Western music, some pitches and musical keys are much more frequent than others. Based on these premises, we hypothesize that if absolute pitch values are indeed represented in LTM, pitch frequency of occurrence in music would significantly affect cognitive processes, in particular pitch learning and evaluation. Two experiments were designed to test this hypothesis in participants with no AP, most with little or no musical training. Experiment 1 demonstrated a faster response and a learning advantage for frequent pitches over infrequent pitches in an identification task. In Experiment 2 participants evaluated infrequent pitches as more pleasing than frequent pitches when presented in isolation. These results suggest that absolute pitch representation in memory may play a substantial, hitherto unacknowledged role in auditory (and specifically musical) cognition.

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