bib absolute pitch (1995)

Bibliography on absolute pitch (1995)

front page
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

Jeffrey Cynx (1995), "Similarities in absolute and relative pitch perception in songbirds (starling and zebra finch) and a nonsongbird (pigeon)", Journal of Comparative Psychology, 109(3):261-267.
[abstract]
EC Hantz, KG Kreilick, AL Braverman, KP Swartz (1995), "Effects of musical training and absolute pitch on a pitch memory task: an event-related potential study", Psychomusicology, 14:53-76.
MJA Howe, JW Davidson, DG Moore, JA Soloboa (1995), "Are there early childhood signs of musical ability?", Psychology of Music, 23(2):162-176.
K Miyazaki (1995), "Perception of relative pitch with different references: some absolute-pitch listeners can't tell musical interval names", Perception and Psychophysics, 57:962-970.
[PDF]
Juan G Roederer (1995) The Physics and Psychophysics of Music: An Introduction (Springer). ISBN 0387943668
[google book]
[ (page 178) ... we have been trained to pay attention to, and to store in the long-term memory, only relative pitch intervals, because it is the information most relevant to a musical message... the inforamtion on absolute pitch, although reaching our brain, is discarded as nonessential in the cognitive process. It can, however, be retained by all normal persons during short intervals of time, ranging from 10s up to a few minutes ]
G Schlaug, L Jancke, Y Huang, and H Steinmetz (1995), "In vivo evidence of structural brain asymmetry in musicians", Science, 267(5198):699-701.

		Bibliography on absolute pitch (1995)
	front page 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	Jeffrey Cynx (1995), "Similarities in absolute and relative pitch perception in songbirds (starling and zebra finch) and a nonsongbird (pigeon)", Journal of Comparative Psychology, 109(3):261-267. [abstract] EC Hantz, KG Kreilick, AL Braverman, KP Swartz (1995), "Effects of musical training and absolute pitch on a pitch memory task: an event-related potential study", Psychomusicology, 14:53-76. MJA Howe, JW Davidson, DG Moore, JA Soloboa (1995), "Are there early childhood signs of musical ability?", Psychology of Music, 23(2):162-176. K Miyazaki (1995), "Perception of relative pitch with different references: some absolute-pitch listeners can't tell musical interval names", Perception and Psychophysics, 57:962-970. [PDF] Juan G Roederer (1995) The Physics and Psychophysics of Music: An Introduction (Springer). ISBN 0387943668 [google book] [ (page 178) ... we have been trained to pay attention to, and to store in the long-term memory, only relative pitch intervals, because it is the information most relevant to a musical message... the inforamtion on absolute pitch, although reaching our brain, is discarded as nonessential in the cognitive process. It can, however, be retained by all normal persons during short intervals of time, ranging from 10s up to a few minutes ] G Schlaug, L Jancke, Y Huang, and H Steinmetz (1995), "In vivo evidence of structural brain asymmetry in musicians", Science, 267(5198):699-701.