The Tritone Paradox: Its Presence and Form of Distribution in a General Population

Deutsch, Diana; Kuyper, William L.; Fisher, Yuval

doi:10.2307/40285386

Cited by 55 publications

(59 citation statements)

References 32 publications

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“…Deutsch and her colleagues found this while investigating two aspects of music cognition: invariance of tonal relations under transposition, and the dimensionality of internal pitch representations (Deutsch, 1991(Deutsch, ,1992Deutsch, Kuyper, & Fisher, 1987). In these studies, subjects were asked to judge the height ofmodified Shepard tones (Shepard, 1964).…”

Section: Danielj Levitinmentioning

confidence: 99%

Absolute memory for musical pitch: Evidence from the production of learned melodies

Levitin

1994

Perception & Psychophysics

284

305

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Evidence for the absolute nature of long-term auditory memory is provided by analyzing the production of familiar melodies, Additionally, a two-component theory of absolute pitch is presented, in which this rare ability is conceived as consisting of a more common ability, pitch memory, and a separate, less common ability, pitch labeling. Forty-six subjects sang two different popular songs, and their productions were compared with the actual pitches used in recordings of those songs. Forty percent of the subjects sang the correct pitch on at least one trial; 12% of the subjects hit the correct pitch on both trials, and 44%came within two semitones of the correct pitch on both trials. The results show a convergence with previous studies on the stability of auditory imagery and latent absolute pitch ability; the results further suggest that individuals might possess representations of pitch that are more stable and accurate than previously recognized.There is an interesting history of debate in the animallearning literature about whether animals' internal representations are relational or absolute (

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Section: Danielj Levitinmentioning

confidence: 99%

Absolute memory for musical pitch: Evidence from the production of learned melodies

Levitin

1994

Perception & Psychophysics

284

305

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“…To facilitate comparison of our findings with those reported in the literature, we used the stimuli generation procedures reported by Deutsch et al (1987) and Ragozzine and Deutsch (1994). Each complex tone consisted of six sinusoids spaced at octave intervals.…”

Section: Stimulimentioning

confidence: 99%

“…Following the procedure of Deutsch et al (1987), four envelopes at half-octave spacings were employed to balance possible effects of relative amplitudes ofthe sinusoidal components on judgments (see Repp, 1997 …”

Section: Stimulimentioning

confidence: 99%

“…What about the tritone itself? Deutsch and her colleagues (Deutsch, 1986(Deutsch, , 1987(Deutsch, , 1991(Deutsch, , 1994bDeutsch, Kuyper, & Fisher, 1987;Deutsch, North, & Ray, 1990;Ragozzine & Deutsch, 1994) have done extensive studies using such tritone pairs and have asked subjects to identify the presentations as ascending or descending. Subjects have been found to give reliable and orderly responses.…”

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confidence: 99%

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Spectral-motion aftereffects and the tritone paradox among Canadian subjects

Dawe

Platt

Welsh

1998

Perception & Psychophysics

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The effect of spectral motion on the tritone paradox was investigated by pretesting subjects residing in southwestern Ontario, Canada, on the tritone task, presenting them with a continuous ascending or descending chromatic scale created using Shepard tones, and then retesting them on the tritone task. Results indicated a negative-motion aftereffect that affected the orientation of the pitch class circle. Differential effects of perceived pitch height on the lower portion of the pitch class circle and of adaptation on the upper portion of the pitch class circle were found in the pre-and postadaptation data, respectively. The implications of this dissociation are discussed. In addition, since our subjects lived relatively close to the U.S. border, the experimental pretests allowed us to examine the hypothesis that a canonical American pitch template similar to that found among "Californian" subjects (Deutsch, 1991) is propagated by linguistic influences of media such as television and radio (Ragozzine & Deutsch, 1994). A survey of our subjects indicated that overall, the majority of time engaged in listening to the radio and watching television or movies was spent with American sources. Despite this, and despite the fact that subjects had widely varying language and cultural backgrounds, a tight distribution of peak-pitch classes was found that is indicative of a "British" pitch template (Deutsch, 1991) for every subject tested.For more than 30 years, researchers have made use of specially designed complex harmonic tones in their investigations of different perceptual attributes associated with tonal relationships (Shepard, 1964). In these Shepard tones, adjacent partials are spaced at octave intervals and then filtered through a constant spectral envelope. Shepard tones are useful as stimuli in many psychoacoustic investigations because they ambiguate pitch height while maintaining the chroma of the tone being played. For example, repetitively playing the same 12 chromatic tones spanning an octave will create an illusion of a continuous ascending or descending pitch sequence, depending on whether one plays the chromatic series as ascending or descending, respectively ( Figure IA).Playing pairs ofsuch tones will create the perception of an ascending or descending interval on the basis of pitch proximity. Ifthe second tone is less than halfan octave (an interval called the "tritone") above the first, one typically perceives an ascending interval, whereas if the interval is greater than the tritone, one perceives it as descendingThe authors are grateful to 1. Visser for her assistance in running subjects, A. Cohen for providing information regarding an unpublished study, and K. Kewish, D. Deutsch, B. Repp, and an anonymous reviewer for helpful comments. This research was supported by grants to L

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“…Repp and Knoblich (2007) asked expert and non-expert pianists to press two keys in sequence, where the first key was sometimes to the le, and sometimes to the right, of the second key. e key presses produced an ambiguous tone pair, that is, a pair with the property that the first tone is sometimes perceived as lower in pitch than the second whereas at other times it is perceived as higher in pitch (Deutsch et al 1987). e tones always occurred in the same order regardless of which key was pressed first.…”

Section: Motor Representations Sometimes Shape Experiencesmentioning

confidence: 99%

On a puzzle about relations between thought, experience and the motoric

Sinigaglia

Butterfill

2015

Synthese

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The Tritone Paradox: Its Presence and Form of Distribution in a General Population

Cited by 55 publications

References 32 publications

Absolute memory for musical pitch: Evidence from the production of learned melodies

Absolute memory for musical pitch: Evidence from the production of learned melodies

Spectral-motion aftereffects and the tritone paradox among Canadian subjects

On a puzzle about relations between thought, experience and the motoric

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