Re: memory for pitch - correction in url

[Diana Deutsch <ddeutsch@xxxxxxxx>]

Title: Re: memory for pitch - correction in url

Dear all,

A couple of people have emailed me to point out an  error in the url I gave in my earlier email today. So I'm resending it with the url corrected. Sorry for any inconvenience.

Cheers,

Diana

> Dear Martin et al,
>
> Indeed - and one of the most surprising
> outcomes of this series of experiments was evidence for lateral
> inhibition in the pitch memory system. When you present two test tones
> for recognition ('same' or 'different') and these are separated by an
> interpolated sequence of six tones, the error rate depends
> systematically on the pitch relationship between a 'critical
> interpolated tone' and the first test tone. As the interval between
> these two tones increases in 1/6 tone steps, error rates increase,
> peak at an interval of 2/3 tone, and then return to
> baseline.See
>
> Deutsch, D. Mapping
> of interactions in the pitch memory store. Science, 
> 1972, 175, 1020-1022, posted as a PDF at
>
> http://psy.ucsd.edu/~ddeutsch/psychology/deutsch_publications.htm
>
> Furthermore, error rates increase
> substantially when two tones are interpolated, each a semitone removed
> from the first test tone.See
>
> Deutsch, D.
> Interference in memory between tones adjacent in the musical scale.
> Journal of Experimental Psychology, 1973,
> 100, 228-231.
>
> Most persuasive is the evidence, obtained
> with John Feroe, of disinhibition in pitch memory. If a tone that is
> 2/3 tone removed from the first test tone (the maximally inhibiting
> position) is interpolated, and a tone further removed is also
> interpolated, which moves at 1/6 tone steps from the maximally
> inhibiting tone, you get an orderly disinhibition function, which on
> modeling was found to fit a simple Hartline-Ratliff model of a lateral
> inhibitory network.
>
> See Deutsch, D. &
> Feroe, J. Disinhibition in pitch memory.  Perception and
> Psychophysics, 1975, 17, 320-324, also posted as a PDF in the
> above location.
>
> Cheers,
>
> Diana Deutsch
>
>
>
>
> > Dear Diana and others,
> >
> > you wrote (Monday, May 22):
> > > ...... So at least where memory for the
> > > pitch of a
> > > single tone is concerned, performance appears to be substantially
> > > unrelated to rehearsal strategy, and appears to be the function of
> > > a
> > > low-level system that has characteristics which are very similar
> > > to
> > > the system that handles pitch information at the incoming
> > > level.
> > Your indications of a low-level system for the short-term memory of
> > pitch is further supported by musical practice and by results of
> > research in neurophysiology.
> >
> > 1) In music we experience consonance and dissonance not only for
> > simultaneous tones, but also for non-simultaneous ones. When comparing
> > the two series of tones C4-F4-A4-C5 and C4-F4-A4-C#5, the first one is
> > perceived as more consonant than the second. Today we further assume
> > that this sensitivity for "horizontal harmony" is due to the
> > structure of the mammalian auditory brain, because also monkeys have
> > it (Wright et al., 2000).
> >
> > In order to explain the sensory interaction of non-simultaneous tones,
> > some kind of internal reverberation was suggested. Clearly, if the
> > quality of interaction depends on acoustic frequency ratios, the
> > interaction must occur at a level where neural signals still contain
> > pitch-related periodicity information. The highest level where this
> > information is still present is the auditory midbrain (colliculi
> > inferiores).
> >
> > 2) Bob Zatorre and his team found in two positron emission tomographic
> > studies (1994, 1996) that imagination of pitch of musical tones led to
> > a significant activity increase also in the auditory midbrain
> > (colliculi inferiores).
> >
> >
> > Zatorre, R.J., Evans, A.C., Meyer, E., 1994. Neural mechanisms
> > underlying melodic perception and memory for pitch. J. Neurosci. 14,
> > 1908-1919.
> >
> > Zatorre, R.J., Halpern, A.R., Perry, D.W., Meyer, E., Evans, A.C.,
> > 1996. Hearing in the mind's ear: A PET investigation of musical
> > imagery and perception. J. Cogn. Neurosci. 8, 29-46.
> >
> > Wright, A.A., Rivera, J.J., Hulse, S.H., Shyan, M., Neiworth, J.J.,
> > 2000. Music perception and octave generalization in rhesus monkeys. J.
> > Exp. Psychol. Gen. 129, 291-307.
> > [I wrote a short comment at:
> > http://web.telia.com/~u57011259/Wright.htm ]
> >
> > Cheers,
> >
> > Martin
> >
> > ----------------------------
> > Martin Braun
> > Neuroscience of Music
> > S-671 95 Klässbol
> > Sweden
> > web site: http://w1.570.telia.com/~u57011259/index.htm