bib absolute pitch (1994)

Bibliography on absolute pitch (1994)

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A Barnea, R Granot, H Pratt (1994), "Absolute Pitch - electrophysiological evidence", International Journal of Psychophysiology, 16(1):29-38.
EM Burns, SL Campbell (1994), "Frequency and frequency-ratio resolution by possessors of absolute and relative pitch: examples of categorical perceptions? " Journal of the Acoustic Society of America, 96:2704-2719.
HH Clausen (1994) A Psychophysiological Study of Pitch Naming and Memory Ph.D Thesis (University of Illinois at Chicago).
G Crummer, J Walton, J Wayman, E Hantz, R Frisina (1994), "Neural processing of musical timbre by musicians, nonmusicians, and musicians possessing absolute pitch", Journal of the Acoustical Society of America, 95(5):2720-2727.
A Lamont, I Cross (1994), "Children's cognitive representations of musical pitch", Music Perception, 12(1):27-55.
DJ Levitin (1994), "Absolute memory for musical pitch: evidence from the production of learned melodies", Perception and Psychophysics,56(4):414-423.
[PDF]
K Miyazaki, R Ishii, K Ogushi (1994), "Relation between absolute pitch and relative pitch for music students" (in Japanese), Journal of the Acoustical Society of Japan, 50:780-788.
Jasba Simpson, David Huron (1994), "Absolute pitch as a learned phenomenon: evidence consistent with the Hick-Hyman law", Music Perception, 12(2):267-270.
[Hick-Hyman law is a law in perceptual learning: response time is related to the familiarity of the stimulus. The greater the past exposure, the faster the response times. This paper uses data collected by Miyazaki (1989) to show that AP reaction time is consistent with Hick-Hyman law. ]
RJ Zatorre, AC Evans, E Meyer (1994), "Neural mechanisms underlying melodic pitch perception and memory for pitch", Journal of Neuroscience, 14(4):1908-1919.

		Bibliography on absolute pitch (1994)
	front page 2010 2009 2008 2007 2006 2005 2004 2003 2002 2001 2000 1999 1998 1997 1996 1995 1994 1993 1992 1991 1990 1980s 1970s 1960s 1950s 1940s 1930s 1920s 1910s 1900s 19th century glossary links	A Barnea, R Granot, H Pratt (1994), "Absolute Pitch - electrophysiological evidence", International Journal of Psychophysiology, 16(1):29-38. EM Burns, SL Campbell (1994), "Frequency and frequency-ratio resolution by possessors of absolute and relative pitch: examples of categorical perceptions? " Journal of the Acoustic Society of America, 96:2704-2719. HH Clausen (1994) A Psychophysiological Study of Pitch Naming and Memory Ph.D Thesis (University of Illinois at Chicago). G Crummer, J Walton, J Wayman, E Hantz, R Frisina (1994), "Neural processing of musical timbre by musicians, nonmusicians, and musicians possessing absolute pitch", Journal of the Acoustical Society of America, 95(5):2720-2727. A Lamont, I Cross (1994), "Children's cognitive representations of musical pitch", Music Perception, 12(1):27-55. DJ Levitin (1994), "Absolute memory for musical pitch: evidence from the production of learned melodies", Perception and Psychophysics,56(4):414-423. [PDF] K Miyazaki, R Ishii, K Ogushi (1994), "Relation between absolute pitch and relative pitch for music students" (in Japanese), Journal of the Acoustical Society of Japan, 50:780-788. Jasba Simpson, David Huron (1994), "Absolute pitch as a learned phenomenon: evidence consistent with the Hick-Hyman law", Music Perception, 12(2):267-270. [Hick-Hyman law is a law in perceptual learning: response time is related to the familiarity of the stimulus. The greater the past exposure, the faster the response times. This paper uses data collected by Miyazaki (1989) to show that AP reaction time is consistent with Hick-Hyman law. ] RJ Zatorre, AC Evans, E Meyer (1994), "Neural mechanisms underlying melodic pitch perception and memory for pitch", Journal of Neuroscience, 14(4):1908-1919.