Timbre-induced pitch shift from the perspective of Signal Detection Theory: the impact of musical expertise, silence interval, and pitch region

Vurma, Allan

doi:10.3389/fpsyg.2014.00044

Cited by 2 publications

(1 citation statement)

References 27 publications

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“…Experienced Suzuki violin teacher Kreitman (1998, p. 19) argues that when teaching young children, two of the earliest teaching tasks are “can you differentiate between notes?” followed by “when they are different, can you describe whether the second pitch is higher or lower?” Refined pitch differentiation is learned. Both Micheyl et al (2006) and Vurma (2014) found differences in pitch discrimination between non-musicians, keyboardists, and string players who have to correct intonation, along with timbral effects on differentiation.…”

Section: Introductionmentioning

confidence: 98%

Real-Time Aural and Visual Feedback for Improving Violin Intonation

Pardue

McPherson

2019

Front. Psychol.

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Playing with correct intonation is one of the major challenges for a string player. A player must learn how to physically reproduce a target pitch, but before that, the player must learn what correct intonation is. This requires audiation- the aural equivalent of visualization- of every note along with self-assessment whether the pitch played matches the target, and if not, what action should be taken to correct it. A challenge for successful learning is that much of it occurs during practice, typically without outside supervision. A student who has not yet learned to hear correct intonation may repeatedly practice out of tune, blithely normalizing bad habits and bad intonation. The real-time reflective nature of intonation and its consistent demand on attention make it a ripe target for technological intervention. Using a violin augmented to combine fingerboard sensors with audio analysis for real-time pitch detection, we examine the efficacy of three methods of real-time feedback for improving intonation and pitch learning. The first, aural feedback in the form of an in-tune guide pitch following the student in real-time, is inspired by the tradition of students playing along with teachers. The second is visual feedback on intonation correctness using an algorithm optimized for use throughout normal practice. The third is a combination of the two methods, simultaneously providing aural and visual feedback. Twelve beginning violinists, including children and adults, were given four in-situ 20–30 min lessons. Each lesson used one of the intonation feedback methods, along with a control lesson using no feedback. We collected data on intonation accuracy and conducted interviews on student experience and preference. The results varied by player, with evidence of some players being helped by the feedback methods but also cases where the feedback was distracting and intonation suffered. However interviews suggested a high level of interest and potential in having such tools to help during practice, and results also suggested that it takes time to learn to use the real-time aural and visual feedback. Both methods of feedback demonstrate potential for assisting self-reflection during individual practice.

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Section: Introductionmentioning

confidence: 98%

Real-Time Aural and Visual Feedback for Improving Violin Intonation

Pardue

McPherson

2019

Front. Psychol.

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Relative role of heredity or training for music perception in children

Jain

Kumar

2017

Hearing Balance and Communication

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The effect of familial inheritance and/or environment on human behaviour has long been investigated. In the area of auditory processing, researchers have demonstrated the relative role of heredity or training in music perception for children, but both the factors were seldom been investigated simultaneously. The present study aimed to identify the factors important for music perception in children. Young children (age = 5–7 years) were selected and divided into four groups. First group of children had familial inheritance of music and also received formal music training. The second and third group had either familial inheritance of music or received music training, respectively, whereas the last group had neither of the two advantages. Tests including melody mistuning detection, timbre change detection, pitch discrimination and pitch change detection were administered. Results revealed that both familial inheritance of music expertise and music training significantly improves the music perception abilities. These findings were discussed in terms of relative role of both heredity and music training in the music perception in children. This information may be helpful designing therapeutic protocol for children with auditory processing disorders and in understanding the perceptual processes underlying music perception in children.

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Timbre-induced pitch shift from the perspective of Signal Detection Theory: the impact of musical expertise, silence interval, and pitch region

Cited by 2 publications

References 27 publications

Real-Time Aural and Visual Feedback for Improving Violin Intonation

Real-Time Aural and Visual Feedback for Improving Violin Intonation

Relative role of heredity or training for music perception in children

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