The Role of Pitch Memory in Pitch Discrimination and Pitch Matching

Accurate control of vocal pitch (fundamental frequency) requires coordination of sensory and motor systems. Previous research has supported the relationship between perceptual accuracy and vocal pitch matching accuracy. The purpose of this study was to investigate the role of memory for pitch in pitch matching and pitch discrimination ability. Three experimental tasks were used. First, a pitch matching task was completed, in which the participants listened to target tones and vocally matched the pitch of the tones. The second task was a pitch discrimination task that required the participants to judge the pitch (same or different) of complex tone pairs. The third task was pitch discrimination with memory interference task that was similar to the pitch discrimination task except interference tones were added. Results of the pitch matching and pitch discrimination tasks yielded a significant correlation between these values. When there was memory interference, pitch discrimination ability was poorer, and there was no significant correlation between pitch discrimination and pitch matching. These results support earlier findings of a relationship between pitch discrimination and pitch matching abilities. The results also suggest a possible role of pitch memory in both tasks. These findings may have implications for abilities related to accurate pitch control.     

Pitch Discrimination and Pitch Matching Abilities of Adults who Sing Inaccurately

Past research regarding singing ability has provided evidence that both supports and refutes a relationship between pitch discrimination ability and pitch production ability. Researchers have suggested that these skills improve with age. Despite this suggestion, most investigators studying singing ability have included only children as participants. Additionally, although many researchers have studied accurate singers, few have directly studied persons who do not sing accurately. We designed this study to examine the relationship between pitch discrimination ability and pitch production ability in inaccurate adult singers. Fifteen adults, aged 18 to 40 years, that met specific criteria qualified as inaccurate singers. Each participated in two tasks, a pitch discrimination task and a pitch production task. We used the Multi-Dimensional Voice Profile-Advanced (Kay Elemetrics Corporation, Lincoln Park, NJ) to determine the frequency of each participant's vocal productions during the pitch production task. We also used a Pearson product moment correlation to analyze the relationship between pitch discrimination and pitch production accuracy within a semitone of the target frequency. No meaningful relationship was found, and results were not statistically significant. However, the inaccurate singers in this study could be classified into two separate categories, those who discriminated pitches accurately, but produced pitches inaccurately, and those who discriminated pitches inaccurately and produced pitches inaccurately. These findings may be of great importance to music educators and impact the focus of instruction when teaching an inaccurate singer to sing more accurately.     

The Relationship Between Vocal Pitch-Matching Skills and Pitch Discrimination Skills in Untrained Accurate and Inaccurate Singers

Few studies have compared the relationship between pitch discrimination accuracy and the accuracy of fundamental frequency (F(o)) control. This study investigated the relationship between vocal pitch-matching skills, which is one method of testing F(o) control, and pitch discrimination skills in untrained accurate and inaccurate singers, and the effect of timbre on their pitch discrimination accuracy. Data showed that accurate singers had more precise discrimination and pitch-matching abilities compared with their inaccurate counterparts. Pitch discrimination was differentially affected by the timbre (eg, spectral differences) of comparison tones. In addition, results showed a significant relationship between pitch discrimination abilities and pitch-matching accuracy. The results suggest that accurate F(o) control is at least partially dependent on pitch discrimination abilities, which are important for accurate singing.     

Pitch Characteristics of Homosexual Males

Objective

To investigate the common stereotype that homosexual males show pitch patterns that mirror those of heterosexual females.

Study Design

Static group comparison.

Method

Comparison of speaking fundamental frequency and pitch variation of 30 homosexual males, 56 heterosexual age-matched males, and 54 age-matched heterosexual females as demonstrated in a sample of read speech.

Results

In the homosexual males, average fundamental frequency and pitch variation were significantly higher than in the heterosexual males but also significantly lower than in the heterosexual females.

Conclusions

Results do not confirm the stereotype that gay male speech mirrors the patterns of women’s speech with respect to pitch characteristics. It would seem that the pitch patterns of gay male speakers constitute an example of sociophonetic variation.     

以褐煤为原料制备水溶性沥青

以褐煤为原料、亚硫酸铵为磺化试剂,制备水溶性沥青.实验探索了反应时间、反应温度、亚硫酸铵用量、甲醛用量、氨水浓度对水溶性沥青产率及其性能的影响.结果表明：3g原料沥青、1g亚硫酸铵、1mL甲醛、30mL 40％氨水,反应时间1.5h,反应温度75℃条件下制备的沥青水溶物为59％.     

Perception of Pitch and Roughness in Vocal Signals with Subharmonics

Pitch and roughness were rated according to the extent of amplitude modulation (AM) and frequency modulation (FM) of a subharmonic [fundamental frequency (F0)/2]. The objective was to determine the identification boundaries for pitch and roughness and to discover how both kinds of modulation affect these boundaries. Another objective was to judge the reliability between subjects when identifying subharmonic-related pitch and roughness. Three procedures were used: ABX comparisons, method of adjustment, and rating of roughness. Results indicated that the crossover point to the lower pitch (associated with the subharmonic) occurred between 10% and 30% modulation, depending on modulation type and F0. Subjects demonstrated highly variable perceptions of pitch and roughness, with poor intersubject reliability.     

Perceived Pitch of Synthesized Voice with Alternate Cycles

Both in normal speech voice and in some types of pathological voice, adjacent vocal cycles may alternate in amplitude or period, or both. When this occurs, the determination of voice fundamental frequency (defined as number of vocal cycles per second) becomes difficult. The present study attempts to address this issue by investigating how human listeners perceive the pitch of alternate cycles. As stimuli, vowels /a/ and /i/ were synthesized with fundamental frequencies at 140 Hz and 220 Hz, and the effect of alternate cycles was simulated with both amplitude- and frequency-modulation of the glottal volume velocity waveform. Subjects were asked to judge the pitch of the modulated vowels in reference to vowels without modulation. The results showed that (a) perceived pitch became lower as the amount of modulation increased, and the effect seems to be more dramatic than would be predicted by existing hypotheses, (b) perceived pitch differed across vowels, fundamental frequencies, and modulation types, that is, amplitude versus frequency modulation, and (c) the prediction of perceived pitch was best made in the frequency domain in terms of subharmonic-to-harmonic ratio. These findings provide useful information on how we should assess the pitch of alternate cycles. They may also be helpful in developing more robust pitch determination algorithms.     

Pitch discrimination abilities in classical Arab-music listeners

The current experiment examined pitch discrimination thresholds in listeners of classical Arab music, and listeners of Western popular music. Classical Arab music is characterized by modes (“Maqamat”, plural of “Maqam” in Arabic language) of which the smallest interval is a quarter tone. In contrast, the smallest interval in Western music is a semitone. We hypothesized that daily exposure to a musical style involving minuscule pitch differences may have a positive effect on pitch discrimination abilities. Results demonstrate superior pitch discrimination abilities in the classical Arab music listeners. These results indicate that musical cultures may differ in their influence on perceptual abilities, depending on their basic acoustic characteristics.     

Significance of Auditory and Kinesthetic Feedback to Singers'' Pitch Control

An accurate control of fundamental frequency (F0) is required from singers. This control relies on auditory and kinesthetic feedback. However, a loud accompaniment may mask the auditory feedback, leaving the singers to rely on kinesthetic feedback. The object of the present study was to estimate the significance of auditory and kinesthetic feedback to pitch control in 28 students beginning a professional solo singing education. The singers sang an ascending and descending triad pattern covering their entire pitch range with and without masking noise in legato and staccato and in a slow and a fast tempo. F0 was measured by means of a computer program. The interval sizes between adjacent tones were determined and their departures from equally tempered tuning were calculated. The deviations from this tuning were used as a measure of the accuracy of intonation. Statistical analysis showed a significant effect of masking that amounted to a mean impairment of pitch accuracy by 14 cent across all subjects. Furthermore, significant effects were found of tempo as well as of the staccato/legato conditions. The results indicate that auditory feedback contributes significantly to singers' control of pitch.     

Phonation Threshold Pressure Across the Pitch Range: Preliminary Test of a Model

This study sought to examine the specific relationship between phonation threshold pressure (PTP) and voice fundamental frequency (F(0)) across the pitch range. A published theoretical model of this relationship described a quadratic equation, with PTP increasing exponentially with F(0). Prospective data from eight adults with normal, untrained voices were collected. Subjects produced their quietest phonation at 10 randomly ordered pitches from 5% to 95% of their semitone pitch range at 10% intervals. Analysis included curve fitting for individual and group data, as well as comparisons to the previous model. The group data fit a quadratic function similar to that proposed previously, but the specific quadratic coefficient and constant values differed. Four of the individual subjects' data were best fit by quartic functions, two by quadratic functions, and one by a linear function. This preliminary study indicates that PTP may be minimal at a "comfortable" pitch rather than the lowest pitch tested, and that, for some individuals, PTP may be slightly elevated during the passaggio between modal and falsetto vocal registers. These data support the general form of the theoretical PTP-F(0) function for these speakers, and indicate the possibility of potential refinements to the model. Future studies with larger groups of male and female subjects across a wider age range may eventually reveal the specific nature of the function.     

提升小波加权自相关函数的基音检测算法*

随着计算机技术的发展,语音信号处理作为人机交互的重要渠道,其在复杂噪声环境下的特征值检测算法直接关系到计算机的运算效率。基音周期是语音特征值提取的重要参数之一。针对传统基音检测算法在噪声环境下检测精度低的问题,提出了一种基于自适应提升小波变换加权线性预测误差自相关函数的基音检测算法。该方法用多级提升小波近似系数加权求和的方法来弥补自相关函数随着时间延迟量的增加幅值衰减的缺陷;用线性预测误差自相关函数的方法来抑制共振峰的干扰,然后将两种方法结合来突出基音周期处的峰值。实验结果表明,与传统的自相关函数法和小波加权法相比,该方法能有效减弱共振峰的影响,突出基音周期处的峰值,提高基音周期检测精度,鲁棒性更好。     

Pitch Matching Accuracy of Trained Singers, Untrained Subjects with Talented Singing Voices, and Untrained Subjects with Nontalented Singing Voices in Conditions of Varying Feedback

At a physiological level, the act of singing involves control and coordination of several systems involved in the production of sound, including respiration, phonation, resonance, and afferent systems used to monitor production. The ability to produce a melodious singing voice (eg, in tune with accurate pitch) is dependent on control over these motor and sensory systems. To test this position, trained singers and untrained subjects with and without expressed singing talent were asked to match pitches of target pure tones. The ability to match pitch reflected the ability to accurately integrate sensory perception with motor planning and execution. Pitch-matching accuracy was measured at the onset of phonation (prephonatory set) before external feedback could be utilized to adjust the voiced source, during phonation when external auditory feedback could be utilized, and during phonation when external auditory feedback was masked. Results revealed trained singers and untrained subjects with singing talent were no different in their pitch-matching abilities when measured before or after external feedback could be utilized. The untrained subjects with singing talent were also significantly more accurate than the trained singers when external auditory feedback was masked. Both groups were significantly more accurate than the untrained subjects without singing talent.     

Revisiting the Pitch Controversy: Changes in Speaking Fundamental Frequency (SFF) After Management of Functional Dysphonia

Speaking fundamental frequency (SFF) and its perceptual correlate "habitual pitch" have been considered important and contentious parameters in voice assessment and treatment. In clinical circles, disagreement exists regarding the role of habitual pitch in the development, maintenance, and treatment of disordered voices. Despite these divergent opinions, few studies have objectively evaluated SFF changes associated with voice improvement after therapy. To determine whether consistent directional and magnitude changes in SFF occur after management, pretreatment and posttreatment audio recordings of 40 women with functional dysphonia were analyzed. All subjects were treated with manual circumlaryngeal therapy, a treatment approach that does not directly target pitch as a perceptual entity to be manipulated. Results indicated that, as a group, no significant change in mean SFF was observed after successful management. Although no consistent directional pattern was identified, 80% of the subjects experienced pitch changes greater than one semitone; this suggests that voice improvement is often accompanied by a shift in SFF. Clinical implications of the data are discussed.     

煤焦油精制软沥青中氮、硫的分布和热稳定性的分析

以高温煤焦油为原料制备煤精制软沥青及其族组成,再炭化制备半焦。通过元素分析和红外光谱分析杂原子氮、硫的分布和热稳定性。     

煤精制软沥青庚烷不溶甲苯可溶族结构的光谱分析

以高温煤焦油为原料制备软化点为32℃煤焦油精制软沥青,再以庚烷、甲苯为溶剂超声萃取得庚烷不溶甲苯可溶物。蒸气压渗透法测定庚烷不溶甲苯可溶物平均分子量为349;元素分析与平均分子量结合得平均分子式C26.65H17.62N0.12S0.06O0.51,平均分子中杂原子总数0.68;红外分析结果表明：其杂原子氧以R—O—R,Ar—O—R结构存在,氮以R—NH—R和—N=结构存在,且以—N=为主;采用改进的Brown-Lander模型得其平均结构是六环稠环;紫外分析表明,线性排列为主、面性排列为辅,即庚烷不溶甲苯可溶族的化学结构以渺位缩合为主,迫位缩合为辅。     

Effects of Increasing Time Delays on Pitch-Matching Accuracy in Trained Singers and Untrained Individuals

Trained singers (TS) generally demonstrate accurate pitch matching, but this ability varies within the general population. Pitch-matching accuracy, given increasing silence intervals of 5, 15, and 25 seconds between target tones and vocal matches, was investigated in TS and untrained individuals. A relationship between pitch discrimination and pitch matching was also examined. Thirty-two females (20–30 years) were grouped based on individual vocal training and performance in an immediate pitch-matching task. Participants matched target pitches following time delays, and completed a pitch discrimination task, which required the classification of two tones as same or different. TS and untrained accurate participants performed comparably on all pitch-matching tasks, while untrained inaccurate participants performed significantly less accurately than the other two groups. Performances declined across groups as intervals of silence increased, suggesting degradation of pitch matching as pitch memory was taxed. A significant relationship between pitch discrimination and pitch matching was revealed across participants.