Subject: Re: memory for pitch - correction in url From: Diana Deutsch <ddeutsch@xxxxxxxx> Date: Tue, 23 May 2006 23:24:17 -0700--============_-1063670633==_ma============ Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable Dear all, A couple of people have emailed me to point out=20 an error in the url I gave in my earlier email=20 today. So I'm resending it with the url=20 corrected. Sorry for any inconvenience. Cheers, Diana >Dear Martin et al, > >Indeed - and one of the most surprising outcomes=20 >of this series of experiments was evidence for=20 >lateral inhibition in the pitch memory system.=20 >When you present two test tones for recognition=20 >('same' or 'different') and these are separated=20 >by an interpolated sequence of six tones, the=20 >error rate depends systematically on the pitch=20 >relationship between a 'critical interpolated=20 >tone' and the first test tone. As the interval=20 >between these two tones increases in 1/6 tone=20 >steps, error rates increase, peak at an interval=20 >of 2/3 tone, and then return to baseline.See > >Deutsch, D. Mapping of interactions in the pitch=20 >memory store. Science, 1972, 175, 1020-1022,=20 >posted as a PDF at > >http://psy.ucsd.edu/~ddeutsch/psychology/deutsch_publications.htm > >Furthermore, error rates increase substantially=20 >when two tones are interpolated, each a semitone=20 >removed from the first test tone.See > >Deutsch, D. Interference in memory between tones=20 >adjacent in the musical scale. Journal of=20 >Experimental Psychology, 1973, 100, 228-231. > >Most persuasive is the evidence, obtained with=20 >John Feroe, of disinhibition in pitch memory. If=20 >a tone that is 2/3 tone removed from the first=20 >test tone (the maximally inhibiting position) is=20 >interpolated, and a tone further removed is also=20 >interpolated, which moves at 1/6 tone steps from=20 >the maximally inhibiting tone, you get an=20 >orderly disinhibition function, which on=20 >modeling was found to fit a simple=20 >Hartline-Ratliff model of a lateral inhibitory=20 >network. > >See Deutsch, D. & Feroe, J. Disinhibition in=20 >pitch memory. Perception and Psychophysics,=20 >1975, 17, 320-324, also posted as a PDF in the=20 >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=20 >>short-term memory of pitch is further supported=20 >>by musical practice and by results of research=20 >>in neurophysiology. >> >>1) In music we experience consonance and=20 >>dissonance not only for simultaneous tones, but=20 >>also for non-simultaneous ones. When comparing=20 >>the two series of tones C4-F4-A4-C5 and=20 >>C4-F4-A4-C#5, the first one is perceived as=20 >>more consonant than the second. Today we=20 >>further assume that this sensitivity for=20 >>"horizontal harmony" is due to the structure of=20 >>the mammalian auditory brain, because also=20 >>monkeys have it (Wright et al., 2000). >> >>In order to explain the sensory interaction of=20 >>non-simultaneous tones, some kind of internal=20 >>reverberation was suggested. Clearly, if the=20 >>quality of interaction depends on acoustic=20 >>frequency ratios, the interaction must occur at=20 >>a level where neural signals still contain=20 >>pitch-related periodicity information. The=20 >>highest level where this information is still=20 >>present is the auditory midbrain (colliculi=20 >>inferiores). >> >>2) Bob Zatorre and his team found in two=20 >>positron emission tomographic studies (1994,=20 >>1996) that imagination of pitch of musical=20 >>tones led to a significant activity increase=20 >>also in the auditory midbrain (colliculi=20 >>inferiores). >> >> >>Zatorre, R.J., Evans, A.C., Meyer, E., 1994.=20 >>Neural mechanisms underlying melodic perception=20 >>and memory for pitch. J. Neurosci. 14,=20 >>1908-1919. >> >>Zatorre, R.J., Halpern, A.R., Perry, D.W.,=20 >>Meyer, E., Evans, A.C., 1996. Hearing in the=20 >>mind's ear: A PET investigation of musical=20 >>imagery and perception. J. Cogn. Neurosci. 8,=20 >>29-46. >> >>Wright, A.A., Rivera, J.J., Hulse, S.H., Shyan,=20 >>M., Neiworth, J.J., 2000. Music perception and=20 >>octave generalization in rhesus monkeys. J.=20 >>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 Kl=E4ssbol >>Sweden >>web site: http://w1.570.telia.com/~u57011259/index.htm --============_-1063670633==_ma============ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable <!doctype html public "-//W3C//DTD W3 HTML//EN"> <html><head><style type=3D"text/css"><!-- blockquote, dl, ul, ol, li { padding-top: 0 ; padding-bottom: 0 } --></style><title>Re: memory for pitch - correction in url</title></head><body> <div>Dear all,</div> <div><br></div> <div>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.</div> <div><br></div> <div>Cheers,</div> <div><br></div> <div>Diana</div> <div><br></div> <div><br></div> <blockquote type=3D"cite" cite>Dear Martin et al,</blockquote> <blockquote type=3D"cite" cite><br></blockquote> <blockquote type=3D"cite" cite>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</blockquote> <blockquote type=3D"cite" cite><br></blockquote> <blockquote type=3D"cite" cite><font color=3D"#000000">Deutsch, D. Mapping of interactions in the pitch memory store.<i> Science, </i> 1972,<i> 175</i>, 1020-1022</font>, posted as a PDF at</blockquote> <blockquote type=3D"cite" cite><br></blockquote> <blockquote type=3D"cite" cite >http://psy.ucsd.edu/~ddeutsch/psychology/deutsch_publications.htm</blockquo= te> <blockquote type=3D"cite" cite><br></blockquote> <blockquote type=3D"cite" cite>Furthermore, error rates increase substantially when two tones are interpolated, each a semitone removed from the first test tone.See</blockquote> <blockquote type=3D"cite" cite><br></blockquote> <blockquote type=3D"cite" cite><font color=3D"#000000">Deutsch, D. Interference in memory between tones adjacent in the musical scale.<i> Journal of Experimental Psychology</i>, 1973,<i> 100</i>, 228-231.</font></blockquote> <blockquote type=3D"cite" cite><br></blockquote> <blockquote type=3D"cite" cite>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.</blockquote> <blockquote type=3D"cite" cite><br></blockquote> <blockquote type=3D"cite" cite>See<font color=3D"#000000"> Deutsch, D. & =46eroe, J. Disinhibition in pitch memory.<i> Perception and Psychophysics</i>, 1975, 17, 320-324, also posted as a PDF in the above location.</font></blockquote> <blockquote type=3D"cite" cite><br></blockquote> <blockquote type=3D"cite" cite>Cheers,</blockquote> <blockquote type=3D"cite" cite><br></blockquote> <blockquote type=3D"cite" cite>Diana Deutsch</blockquote> <blockquote type=3D"cite" cite><br></blockquote> <blockquote type=3D"cite" cite><br></blockquote> <blockquote type=3D"cite" cite><br></blockquote> <blockquote type=3D"cite" cite><br></blockquote> <blockquote type=3D"cite" cite><br> <blockquote type=3D"cite" cite>Dear Diana and others,<br> <br> you wrote (Monday, May 22):<br> <blockquote type=3D"cite" cite>...... So at least where memory for the pitch of a<br> single tone is concerned, performance appears to be substantially<br> unrelated to rehearsal strategy, and appears to be the function of a<br> low-level system that has characteristics which are very similar to<br> the system that handles pitch information at the incoming level.</blockquote> </blockquote> <blockquote type=3D"cite" cite><br> 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.<br> <br> 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).<br> <br> 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).<br> <br> 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).<br> <br> <br> Zatorre, R.J., Evans, A.C., Meyer, E., 1994. Neural mechanisms underlying melodic perception and memory for pitch. J. Neurosci. 14, 1908-1919.<br> <br> 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.<br> <br> 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.</blockquote> <blockquote type=3D"cite" cite>[I wrote a short comment at: http://web.telia.com/~u57011259/Wright.htm ]<br> <br> Cheers,<br> <br> Martin<br> <br> ----------------------------<br> Martin Braun<br> Neuroscience of Music<br> S-671 95 Kl=E4ssbol</blockquote> <blockquote type=3D"cite" cite>Sweden<br> web site: http://w1.570.telia.com/~u57011259/index.htm</blockquote> </blockquote> <div><br></div> </body> </html> --============_-1063670633==_ma============--