![]() These results suggest that AP is not a panacea to become a proficient musician, but a rare perceptual feature.What is Working Memory? An Introduction and Review Concurring sources were estimated in secondary auditory areas, comprising the planum temporale, all transgression conditions collapsed. The key finding of this study is the involvement of a microstate peaking around 60 ms after musical closure, characterizing AP participants. Remarkably, harmonic transgression sensitivity did not differ between AP and non-AP participants, and differences for auditory cognition were only marginal. We also investigated the impact of AP on general auditory cognition. Given the millisecond precision of ERP analyses, this experimental plan allowed examining whether AP alters music processing at an early perceptual, or later cognitive level, or both, and which cerebral sources underlie differences with non-AP musicians. The pieces ended regularly or contained harmonic transgressions at closure that participants appraised. Here we examined event-related brain responses and underlying cerebral sources to endings of short expressive string quartets, investigating a homogeneous population of young highly trained pianists with half of them possessing true-AP. However, AP is acquired and has its function within complex dynamic musical contexts. True absolute pitch (AP), labeling of pitches with semitone precision without a reference, is classically studied using isolated tones. Based on our case study findings, we provide methodological considerations and recommendations for future empirical testing of our theory of ISAP. Timbral cues and motor imagery may both play roles in the acquisition of this ability. These preliminary data suggest that some musicians possess ISAP while others do not. For this oboist demonstrating ISAP, the second experiment demonstrated that pitch-naming accuracy decreased and variance around the correct pitch value increased as an effect of transposition and motor interference, but not of instrument or performer. The results of the first experiment revealed that only one of the two oboists showed an advantage for identifying oboe tones over piano tones. The aim of the first experiment was to determine whether the oboists demonstrated ISAP ability, while the purpose of the second experiment was to provide a preliminary investigation of the underlying mechanisms. ![]() In order to demonstrate how our theory can be tested, we report the methodology and analysis of two exemplary experiments conducted on two case-study participants who are professional oboists. ![]() Sounds of one's primary instrument may moreover activate kinesthetic memory and motor imagery, aiding pitch identification. Depending on whether informative timbral cues arise from performer-or instrument-specific idiosyncrasies or from timbre-facilitated tonotopic representations, we predict that performance may be enhanced for notes played by oneself, notes played on one's own personal instrument, and/or notes played on any exemplar of one's own instrument type. Specifically, we offer the hypothesis that some expert musicians without global AP may be able to more accurately identify pitches played on their primary instrument(s), and we propose timbral cues and articulatory motor imagery as two underlying mechanisms. In this paper we present a theory of ISAP. We call this phenomenon "instrument-specific absolute pitch" (ISAP). While absolute pitch (AP)-the ability to name musical pitches globally and without reference-is rare in expert musicians, anecdotal evidence suggests that some musicians may better identify pitches played on their primary instrument than pitches played on other instruments. ![]()
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