Number 13 / Part I. Music. 7. Grounds of Absolute Pitch Development in Yamaha Music School

1. Athos, A., Levinson, B., Kistler, A., Zemansky, J., Bostrom, A., Freimer, N., Gitschier, J. (2007). Dichotomy and perceptual distortions in absolute pitch ability. PNAS, 104(37), 14795-14800.10.1073/pnas.0703868104Search in Google Scholar

2. Baharloo, S., Johnston, P., Service, S., Gitschier, J., Freimer, N. (1998). Absolute pitch: An approach for identification of genetic and nongenetic components. American Journal of Human Genetics, 62, 224-231.10.1086/301704Search in Google Scholar

3. Bermudez, P. & Zatorre, R. (2009). A distribution of absolute pitch ability as revealed by computerized testing. Music Perception, 27(2), 89-101.10.1525/mp.2009.27.2.89Search in Google Scholar

4. Brammer, L.M. (1951). Sensory cues in pitch judgement. Journal of Experimental Psychology, 41, 336-340.10.1037/h0058974Search in Google Scholar

5. Brown, W., Cammuso, K., Sachs, H., Winklosky, B., Mullane, J., Bernier, R., Svenson, S., Arin, D., Rosen-Sheidley, Folstein, S. (2003). Autism-related language, personality and cognition in people with absolute pitch: Results of a preliminary study. Journal of Autism and Developmental Disorders, 33(2), 163-166.10.1023/A:1022987309913Search in Google Scholar

6. Chin, C. (2003). The development of absolute pitch: A theory concerning the roles of music training at an early developmental age and individual cognitive style. Psychology of Music, 31(2), 155-171.10.1177/0305735603031002292Search in Google Scholar

7. Cohen, A. & Baird, K. (1990). Acquisition of absolute pitch: The question of critical periods. Psychomusicology, 9(1), 31-37.10.1037/h0094160Search in Google Scholar

8. Deutsch, D. (2002). The puzzle of absolute pitch. Journal of American Psychological Society, 11(6), 200-204.10.1111/1467-8721.00200Search in Google Scholar

9. Deutsch, D., Henthorn, T. Dolson, M. (2004). Absolute pitch, speech and tone language: Some experiments and a proposed framework. Music Perception, 21(3), 339-356.10.1525/mp.2004.21.3.339Search in Google Scholar

10. Deutsch, D., Henthorn, T., Marvin, E., Xu, H. (2006). Absolute pitch among American and Chinese conservatory students: Prevalence differences and evidence for a speech-related critical period. Journal of Acoustical Society of America, 119(2), 719-722.10.1121/1.2151799Search in Google Scholar

11. Deutsch, D., Henthorn, T., Marvin, E., Xu, H. (2006). Absolute pitch among American and Chinese conservatory students: Prevalence differences and evidence for a speech-related critical period. Journal of Acoustical Society of America, 119(2), 719-722.10.1121/1.2151799Search in Google Scholar

12. Gervain, J., Vines, B., Chen, L., Seo, R., Hensch, T., Werker, J., Young, A. (2013). Valproate reopens critical-period learning of absolute pitch. Frontiers in Systems Neuroscience, 7(102), 1-11.10.3389/fnsys.2013.00102Search in Google Scholar

13. Gregersen, P., Kowalsky, E., Kohn, N., Marvin, E. (1999). Absolute pitch: Prevalence, ethnic variation and estimation of the genetic component. American Journal of Human Genetics, 65, 911-928.10.1086/302541Search in Google Scholar

14. Hsieh, I. & Saberi, K. (2009). Virtual pitch extraction from harmonic structures by absolute-pitch musicians. Acoustical Physics, 55(2), 232-239.10.1134/S1063771009020134Search in Google Scholar

15.Krumhansl, C. (2000). Music perception. Psychological Bulletin, 126(1), 363-366.Search in Google Scholar

16. Levitin, D. & Zatorre, R. (2003). On the nature of early music training and absolute pitch: A reply to Brown, Sachs, Cammuso and Folstein. Music Perception, 21(1), 105-110.10.1525/mp.2003.21.1.105Search in Google Scholar

17. Lockhead, G. & Byrd, R. (1981). Practically perfect pitch. Journal of Acoustical Society of America, 70(2), 387-389;10.1121/1.386773Search in Google Scholar

18. Miyazachi, K., Makomaska, S., Rakowski, A. (2012). Prevalence of absolute pitch: A comparison between Japanese and Polish music students. Journal of Acoustical Society of America, 132(5), 3484-3493.10.1121/1.4756956Search in Google Scholar

19. Miyazaki, K. & Ogawa, Y. (2006). Learning absolute pitch by children: A cross-sectional study. Music Perception, 24(1), 63-78;10.1525/mp.2006.24.1.63Search in Google Scholar

20. Miyazaki, K. (1989). Absolute pitch identification: Effects of timbre and pitch region. Music Perception, 7(1), 1-14.10.2307/40285445Search in Google Scholar

21. Parncutt, R. & Levitin, D. (1999). Absolute pitch. Grove Dictionary.Search in Google Scholar

22. Ross, D. & Marks, L. (2009). Absolute pitch in children prior to the beginning of musical training. The Neuroscience and Music III: Disorders and Plasticity: Annals of New York Academy of Science, 1169, 199-204.10.1111/j.1749-6632.2009.04847.xSearch in Google Scholar

23. Schlemmer, K., Kulke, F., Kuchinke, L., Meer, E. (2005). Absolute pitch and pupillary response: Effects of timbre and key color. Psychophysiology, 42, 465-472.10.1111/j.1469-8986.2005.00306.xSearch in Google Scholar

24. Sergeant, D.C. (1969). Experimental investigation of absolute pitch. Journal of Research in Music Education, 17, 135-143.10.2307/3344200Search in Google Scholar

25. Takeuchi, A. & Hulse, S. (1993). Absolute pitch. Psychological Bulletin, 113(2), 345-361.10.1037/0033-2909.113.2.345Search in Google Scholar

26. Vanzella, P. & Schellenberg E. (2010). Absolute pitch: Effects of timbre on note-naming ability. PLoS ONE, 5(11), e15449.10.1371/journal.pone.0015449Search in Google Scholar