Re: Pitch learning (UNCLASSIFIED)

[Arturo Camacho <acamacho@xxxxxxxxxxxx>]

Angelique,

I also use that trick when transcribing music, specially at the beginning
of a session (after a while the ear gets accustomed to the timbre and the
range of the instrument and it is not required to hum anymore). Of course,
the trick does not work as well when trying to imitate instruments out of
the range of the voice, but singing the same chroma in a different octave
helps a little bit.

Arturo

> Classification:  UNCLASSIFIED
> Caveats: NONE
>
>
> Without purporting to have any theories about what is being learned, I'll
> share my own experience.
>
> As a child learning both violin and piano, I had some difficulty learning
> to tune my violin to the piano. I had difficulty telling when they were
> the same pitch, because the timbre was so different (neither instrument
> was of very good quality). This was before those neat little tuner
> gadgets. I finally achieved the task by learning that I could match my
> hum to the note of the piano and the note of the violin. If my humming
> was the same for both instruments, I was in tune. If not, I adjusted the
> violin. A.
>
>
>
> If the English language made any sense, a catastrophe would be an
> apostrophe with fur. -Doug Larson, Olympic Gold Medalist (1902-1981)
>
> Angelique Scharine PhD
> Army Research Lab - HRED
> AMSRD-ARL-HR-SD
> APG, MD 21005-5425
>
>
> (410) 278-5957 (landline)
> 298-5957 (dsn)
> (410) 278-3587 (fax)
>
>
>
> -----Original Message-----
> From: AUDITORY - Research in Auditory Perception
> [mailto:AUDITORY@xxxxxxxxxxxxxxx] On Behalf Of Ole Kühl
> Sent: Wednesday, February 07, 2007 5:21 AM
> To: AUDITORY@xxxxxxxxxxxxxxx
> Subject: Pitch learning
>
>
> Martin Braun wrote:
>
>
> "It's timbre learning. Automatic association of timbre and chroma, the
> latter being derived from the summation of octave-spaced partials,
> results in a secure "secondary" pitch perception.
>
>
> An analogy is chord identification. Highly trained musicians can identify
> chord categories from the timbre of a chord."
>
> I find this idea very interesting, and believe it to be true as I have
> long suspected it to be the case that chord learning is actually timbre
> learning. If there is any empirical evidence for this I would be most
> grateful for the particulars.
>
> Incidentally, this seems to be not only a higher order function, but also
> an example of what in the lingo of  cognitive semantics would be called
> conceptual integration or "blending". We could say that we conceptualize
> a pitch through the integration of information from two different
> domains: a perceived timbre domain and a learned schema for partials.
>
>
> Best
> Ole
>
>
>
>
> Ole Kühl
> kyhl@xxxxxxx www.cogmus.com Classification:  UNCLASSIFIED
> Caveats: NONE
>
>
>


-- 
__________________________________________________

Arturo Camacho
PhD Student
Computer and Information Science and Engineering
University of Florida

E-mail: acamacho@xxxxxxxxxxxx
Web page: www.cise.ufl.edu/~acamacho
__________________________________________________