Common property resource, Cooperation, Dynamic game, D62, Q20,

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.

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Purpose A broad area of interest to our group is to understand the consequences of the “cue profile” (a measure of how well a listener can utilize audible temporal and/or spectral cues for listening scenarios in which a subset of cues is distorted. The study goal was to determine if listeners whose cue profile indicated that they primarily used temporal cues for recognition would respond differently to speech-envelope distortion than listeners who utilized both spectral and temporal cues. Method Twenty-five adults with sensorineural hearing loss participated in the study. The listener's cue profile was measured by analyzing identification patterns for a set of synthetic syllables in which envelope rise time and formant transitions were varied. A linear discriminant analysis quantified the relative contributions of spectral and temporal cues to identification patterns. Low-context sentences in noise were processed with time compression, wide-dynamic range compression, or a combination of time compression and wide-dynamic range compression to create a range of speech-envelope distortions. An acoustic metric, a modified version of the Spectral Correlation Index, was calculated to quantify envelope distortion. Results A binomial generalized linear mixed-effects model indicated that envelope distortion, the cue profile, the interaction between envelope distortion and the cue profile, and the pure-tone average were significant predictors of sentence recognition. Conclusions The listeners with good perception of spectro-temporal contrasts were more resilient to the detrimental effects of envelope compression than listeners who used temporal cues to a greater extent. The cue profile may provide information about individual listening that can direct choice of hearing aid parameters, especially those parameters that affect the speech envelope.