Audio-visual interactions uniquely contribute to resolution of visual conflict in people possessing absolute pitch

Conceptual coherence but methodological mayhem: A systematic review of absolute pitch phenotyping

Despite extensive research on absolute pitch (AP), there remains no gold-standard task to measure its presence or extent. This systematic review investigated the methods of pitch-naming tasks for the classification of individuals with AP and examined how our understanding of the AP phenotype is affected by variability in the tasks used to measure it. Data extracted from 160 studies (N = 23,221 participants) included (i) the definition of AP, (ii) task characteristics, (iii) scoring method, and (iv) participant scores. While there was near-universal agreement (99%) in the conceptual definition of AP, task characteristics such as stimulus range and timbre varied greatly. Ninety-five studies (59%) specified a pitch-naming accuracy threshold for AP classification, which ranged from 20 to 100% (mean = 77%, SD = 20), with additional variability introduced by 31 studies that assigned credit to semitone errors. When examining participants' performance rather than predetermined thresholds, mean task accuracy (not including semitone errors) was 85.9% (SD = 10.8) for AP participants and 17.0% (SD = 10.5) for non-AP participants. This review shows that the characterisation of the AP phenotype varies based on methodological choices in tasks and scoring, limiting the generalisability of individual studies. To promote a more coherent approach to AP phenotyping, recommendations about the characteristics of a gold-standard pitch-naming task are provided based on the review findings. Future work should also use data-driven techniques to characterise phenotypic variability to support the development of a taxonomy of AP phenotypes to advance our understanding of its mechanisms and genetic basis.

Timbral cues underlie instrument-specific absolute pitch in expert oboists

While absolute pitch (AP)-the ability to identify musical pitches without external reference-is rare even in professional musicians, anecdotal evidence and case-report data suggest that some musicians without traditional AP can nonetheless better name notes played on their musical instrument of expertise than notes played on instruments less familiar to them. We have called this gain in AP ability "instrument-specific absolute pitch" (ISAP). Here, we report the results of the first two experiments designed to investigate ISAP in professional oboists. In Experiment 1 (n = 40), superiority for identifying the pitch of oboe over piano tones varied along a continuum, with 37.5% of oboists demonstrating significant ISAP. Variance in accuracy across pitches was higher among ISAP-possessors than ISAP-non-possessors, suggestive of internalized timbral idiosyncrasies, and the use of timbral cues was the second-most commonly reported task strategy. For both timbres, both groups performed more accurately for pitches associated with white than black piano keys. In Experiment 2 (n = 12), oboists with ISAP were less accurate in pitch identification when oboe tones were artificially pitch-shifted. The use of timbral idiosyncrasies thus may constitute a widespread mechanism of ISAP. Motor interference, conversely, did not significantly reduce accuracy. This study offers the first evidence of ISAP among highly trained musicians and that reliance on subtle timbral (or intonational) idiosyncrasies may constitute an underlying mechanism of this ability in expert oboists. This provides a path forward for future studies extending the scientific understanding of ISAP to other instrument types, expertise levels, and musical contexts. More generally, this may deepen knowledge of specialized expertise, representing a range of implicit abilities that are not addressed directly in training, but which may develop through practice of a related skill set.

Prior conscious experience modulates the impact of audiovisual temporal correspondence on unconscious visual processing

Conscious visual experiences are enriched by concurrent auditory information, implying audiovisual interactions. In the present study, we investigated how prior conscious experience of auditory and visual information influences the subsequent audiovisual temporal integration under the surface of awareness. We used continuous flash suppression (CFS) to render perceptually invisible a ball-shaped object constantly moving and bouncing inside a square frame window. To examine whether audiovisual temporal correspondence facilitates the ball stimulus to enter awareness, the visual motion was accompanied by click sounds temporally congruent or incongruent with the bounces of the ball. In Experiment 1, where no prior experience of the audiovisual events was given, we found no significant impact of audiovisual correspondence on visual detection time. However, when the temporally congruent or incongruent bounce-sound relations were consciously experienced prior to CFS in Experiment 2, congruent sounds yielded faster detection time compared to incongruent sounds during CFS. In addition, in Experiment 3, explicit processing of the incongruent bounce-sound relation prior to CFS slowed down detection time when the ball bounces became later congruent with sounds during CFS. These findings suggest that audiovisual temporal integration may take place outside of visual awareness though its potency is modulated by previous conscious experiences of the audiovisual events. The results are discussed in light of the framework of multisensory causal inference.

Articulatory motor planning and timbral idiosyncrasies as underlying mechanisms of instrument-specific absolute pitch in expert musicians

The study of musical expertise illustrates how intense training in a specialized domain may instigate development of implicit skills. While absolute pitch, or the ability to identify musical pitches without external reference, is rare even in professional musicians and is understood to have a genetic component, anecdotal evidence and pilot data suggest that some musicians without traditional absolute pitch are nonetheless better able to name notes played on their musical instrument of expertise than notes played on less familiar instruments. We have previously termed this particular gain in absolute pitch identification ability "instrument-specific absolute pitch" (ISAP) and have proposed that this skill is related to learned instrument type-specific timbral and intonational idiosyncrasies and articulatory motor planning activated by the timbre of the instrument. In this Registered Report Protocol, we describe two experiments designed to investigate ISAP in professional oboists. Experiment 1 tests for ISAP ability by comparing oboists' pitch identification accuracies for notes played on the oboe and on the piano. A subset of the participants from Experiment 1 who demonstrate this ability will be recruited for Experiment 2; the purpose of Experiment 2 is to test hypotheses concerning a mechanistic explanation for ISAP. The outcome of these experiments may provide support for the theory that some individuals have ISAP and that the underlying mechanisms of this ability may rely on the perception of subtle timbral/intonational idiosyncrasies and on articulatory motor planning developed through intensive long-term training. In general, this work will contribute to the understanding of specialized expertise, specifically of implicit abilities and biases that are not addressed directly in training, but that may yet develop through practice of a related skill set.

Judging Relative Onsets and Offsets of Audiovisual Events

This study assesses the fidelity with which people can make temporal order judgments (TOJ) between auditory and visual onsets and offsets. Using an adaptive staircase task administered to a large sample of young adults, we find that the ability to judge temporal order varies widely among people, with notable difficulty created when auditory events closely follow visual events. Those findings are interpretable within the context of an independent channels model. Visual onsets and offsets can be difficult to localize in time when they occur within the temporal neighborhood of sound onsets or offsets.

Testing Motivational Theories in Music Education: The Role of Effort and Gratitude

Acquiring musical skills requires sustained effort over long periods of time. This work aims to explore the variables involved in sustaining motivation in music students, including perceptions about one's own skills, satisfaction with achievements, effort, the importance of music in one's life, and perception of the sacrifice made. Two models were developed in which the variable of gratitude was included to integrate positive psychology into the motivational area of music education. The first predicts effort, while the second predicts gratitude. The models were tested using a sample of 84 music students. Both models were fitted using Bayesian analysis techniques to examine the relationship between variables and showed adequate goodness of fit. These models emphasize the role of cognition and motivation in music education and, more precisely, the relationship between effort and gratitude.