A Unique Asymmetrical Stroop Effect in Absolute Pitch Possessors

Akiva-Kabiri, Lilach; Henik, Avishai

doi:10.1027/1618-3169/a000153

Cited by 27 publications

(38 citation statements)

References 31 publications

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“…Synesthesia and absolute pitch share some common neural mechanism (Loui et al, 2012). The association between note and label in absolute pitch possessors is automatic (Akiva-Kabiri and Henik, 2012; Schulze et al, 2012), as is the case with associations in synesthesia (Ward, 2013). Genetic linkage and co segregation between absolute pitch and synesthesia has also been observed (Gregersen et al, 2013).…”

Section: Introductionmentioning

confidence: 98%

Veridical mapping in savant abilities, absolute pitch, and synesthesia: an autism case study

Bouvet¹,

Donnadieu²,

Valdois³

et al. 2014

Front. Psychol.

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An enhanced role and autonomy of perception are prominent in autism. Furthermore, savant abilities, absolute pitch, and synesthesia are all more commonly found in autistic individuals than in the typical population. The mechanism of veridical mapping has been proposed to account for how enhanced perception in autism leads to the high prevalence of these three phenomena and their structural similarity. Veridical mapping entails functional rededication of perceptual brain regions to higher order cognitive operations, allowing the enhanced detection and memorization of isomorphisms between perceptual and non-perceptual structures across multiple scales. In this paper, we present FC, an autistic individual who possesses several savant abilities in addition to both absolute pitch and synesthesia-like associations. The co-occurrence in FC of abilities, some of them rare, which share the same structure, as well as FC’s own accounts of their development, together suggest the importance of veridical mapping in the atypical range and nature of abilities displayed by autistic people.

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Section: Introductionmentioning

confidence: 98%

Veridical mapping in savant abilities, absolute pitch, and synesthesia: an autism case study

Bouvet¹,

Donnadieu²,

Valdois³

et al. 2014

Front. Psychol.

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“…When two syllable names were heard in the experiment, they automatically activated a representation of sequential relation according to their positions in the sequence. Note that the participants were non-musicians who could not identify the fixed relationships between absolute pitches and their corresponding syllable names, which has been shown in many previous studies (Akiva-Kabiri & Henik, 2012;Grégoire et al, 2013Grégoire et al, , 2014Schulze et al, 2013;Tsai, Chen, Wen, & Chou, 2015). Therefore, in the experiment, participants did not activate the specific pitch height that each syllable name represented.…”

Section: Discussionmentioning

confidence: 95%

Effects of syllable name change on pitch comparison

Wang

2020

Journal of Pacific Rim Psychology

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Previous research has found that musicians’ pitch judgments, unlike non-musicians’, are influenced by syllable names. Although non-musicians fail to identify absolute pitches, they acknowledge the direction of pitch change. The present experiment investigated whether non-musicians’ judgments of pitch change can be influenced by the direction of syllable name change. Moreover, we examined the spatial, magnitudinal and sequential nature of pitches and syllable names. Participants (N = 33) were asked to hear two successive tones sung by syllable name and to judge the direction of pitch change by pressing vertically arranged buttons. Participants’ accuracy of pitch change judging was found to be influenced by the direction of syllable name change. However, the response location was not found to interact with pitch change or syllable name change. The distance effect was found in pitches but not in syllable names. A sequence effect was found that trials with early-in-sequence syllable names were responded faster than trials with late-in-sequence syllable names. These results suggest that syllable names can influence non-musicians’ pitch judgments in a relative context. We suggest that it is the sequential order of syllable names that is the product of cultural activities that interfere with the judgment of pitch change.

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“…To empirically establish the labeling automaticity in AP musicians, we applied a behavioral audio-visual like task (Akiva-Kabiri and Henik, 2012;Hsieh and Saberi, 2008;Itoh et al, 2005;Schulze et al, 2013;Stroop, 89 1935). The auditory stimuli consisted of five pure tones (duration = 500 ms, 10 ms linear fade-in; 50 ms linear 90 fade-out), which were created using Audacity (version 2.1.2, http://www.audacityteam.org/).…”

Section: Stroop-like Task 87mentioning

confidence: 99%

“…More specifically, the label is part of the cognitive representation of the pitch and is 43 automatically activated when a particular pitch is perceived (Levitin and Rogers, 2005). This automaticity has 44 been empirically demonstrated using Stroop-like tasks, in which AP musicians responded slower in trials where 45 the pitch of a tone did not match a simultaneously presented label (Akiva-Kabiri and Henik, 2012;Hsieh and 46 Saberi, 2008;Itoh et al, 2005;Schulze et al, 2013). Thus, we predicted that the neural representations underlying 47 listening and labeling show high similarity in AP musicians because they automatically label pitches during 48 listening and, to comply with the task demands, also label pitches during labeling.…”

Section: Introductionmentioning

confidence: 99%

Neural patterns reveal single-trial information on absolute pitch and relative pitch perception

Leipold

Greber

Sele

et al. 2019

Preprint

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1Pitch is a fundamental attribute of sounds and yet is not perceived equally by all humans. Absolute pitch (AP) 2 musicians perceive, recognize, and name pitches in absolute terms, whereas relative pitch (RP) musicians, 3representing the large majority of musicians, perceive pitches in relation to other pitches. In this study, we used 4 electroencephalography (EEG) to investigate the neural representations underlying tone listening and tone labeling 5 in a large sample of musicians (n = 105). Participants performed a pitch processing task with a listening and a 6 labeling condition during EEG acquisition. Using a brain-decoding framework, we tested a prediction derived 7 from both theoretical and empirical accounts of AP, namely that the representational similarity of listening and 8 labeling is higher in AP musicians than in RP musicians. Consistent with the prediction, time-resolved single-trial 9 EEG decoding revealed a higher representational similarity in AP musicians during late stages of pitch perception. 10 Time-frequency-resolved EEG decoding further showed that the higher representational similarity was present in 11 oscillations in the theta and beta frequency bands. Supplemental univariate analyses were less sensitive in detecting 12 subtle group differences in the frequency domain. Taken together, the results suggest differences between AP and 13 RP musicians in late pitch processing stages associated with cognition, rather than in early processing stages 14 associated with perception. 15 Keywords 16 auditory perception, multivariate pattern analysis, representational similarity analysis, decoding, EEG 17

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A Unique Asymmetrical Stroop Effect in Absolute Pitch Possessors

Cited by 27 publications

References 31 publications

Veridical mapping in savant abilities, absolute pitch, and synesthesia: an autism case study

Veridical mapping in savant abilities, absolute pitch, and synesthesia: an autism case study

Effects of syllable name change on pitch comparison

Neural patterns reveal single-trial information on absolute pitch and relative pitch perception

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