Open AccessMulti‐Encoding for Pitch Information of Tone Sequences[Note 1. This study was supported by the Fellowships of the ...]
Author(s) -
Mikumo Mariko
Publication year - 1997
Publication title -
japanese psychological research
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 0.392
H-Index - 30
eISSN - 1468-5884
pISSN - 0021-5368
DOI - 10.1111/1468-5884.00062
Subject(s) - melody , covert , tone (literature) , pitch contour , encoding (memory) , encode , speech recognition , code (set theory) , pitch (music) , absolute pitch , communication , computer science , perception , intonation (linguistics) , dual (grammatical number) , psychology , artificial intelligence , musical , linguistics , neuroscience , visual arts , art , philosophy , biochemistry , chemistry , set (abstract data type) , gene , programming language
This study was designed to investigate the possibilities that subjects would visualize an auditory contour as a visual contour (visual imagery) to encode pitch information of tone sequences (Experiment 1), and that subjects would be motivated to attempt to engage in covert rehearsal with multi‐code (Experiment 2). The findings from these experiments suggest that: (a) Whereas the highly musically trained subjects were able to encode pitches as accurate notes on a staff, the less well musically trained subjects encoded the pitch sequence as a contour. It is quite evident that there is an intermodal analogy between the perception of pitch relationships and that of relationships in visual space. (b) Pitch rehearsal of auditory information along with note names (dual‐code) and staff notation accompanied by pitch rehearsal with note names (triple‐code) were the most effective strategies for highly trained subjects with pitches of tonal sequences; melodic contour accompanied by pitch rehearsal (dual‐code) was used by highly trained subjects with atonal sequences and by less well trained subjects with both types of sequences.