Näytä suppeat kuvailutiedot

dc.contributor.authorHansen, Niels Chr.
dc.contributor.authorReymore, Lindsey
dc.date.accessioned2024-10-16T09:17:19Z
dc.date.available2024-10-16T09:17:19Z
dc.date.issued2024
dc.identifier.citationHansen, N. C., & Reymore, L. (2024). Timbral cues underlie instrument-specific absolute pitch in expert oboists. <i>PLoS ONE</i>, <i>19</i>(10), Article e0306974. <a href="https://doi.org/10.1371/journal.pone.0306974" target="_blank">https://doi.org/10.1371/journal.pone.0306974</a>
dc.identifier.otherCONVID_243321887
dc.identifier.urihttps://jyx.jyu.fi/handle/123456789/97462
dc.description.abstractWhile 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.en
dc.format.mimetypeapplication/pdf
dc.language.isoeng
dc.publisherPublic Library of Science
dc.relation.ispartofseriesPLoS ONE
dc.rightsCC BY 4.0
dc.titleTimbral cues underlie instrument-specific absolute pitch in expert oboists
dc.typearticle
dc.identifier.urnURN:NBN:fi:jyu-202410166328
dc.contributor.laitosMusiikin, taiteen ja kulttuurin tutkimuksen laitosfi
dc.contributor.laitosDepartment of Music, Art and Culture Studiesen
dc.type.urihttp://purl.org/eprint/type/JournalArticle
dc.type.coarhttp://purl.org/coar/resource_type/c_2df8fbb1
dc.description.reviewstatuspeerReviewed
dc.relation.issn1932-6203
dc.relation.numberinseries10
dc.relation.volume19
dc.type.versionpublishedVersion
dc.rights.copyright© 2024 Hansen, Reymore.
dc.rights.accesslevelopenAccessfi
dc.relation.grantnumber346210
dc.relation.grantnumber101045747
dc.relation.grantnumber101045747
dc.relation.projectidinfo:eu-repo/grantAgreement/EC/H2020/101045747/EU//MUSICONNECT
dc.subject.ysomusiikintutkimus
dc.subject.ysoabsoluuttinen sävelkorva
dc.subject.ysooboistit
dc.subject.ysomuusikot
dc.subject.ysopianistit
dc.subject.ysosointiväri
dc.format.contentfulltext
jyx.subject.urihttp://www.yso.fi/onto/yso/p21685
jyx.subject.urihttp://www.yso.fi/onto/yso/p23827
jyx.subject.urihttp://www.yso.fi/onto/yso/p39691
jyx.subject.urihttp://www.yso.fi/onto/yso/p1644
jyx.subject.urihttp://www.yso.fi/onto/yso/p21972
jyx.subject.urihttp://www.yso.fi/onto/yso/p26459
dc.rights.urlhttps://creativecommons.org/licenses/by/4.0/
dc.relation.datasethttps:// doi.org/10.17605/OSF.IO/HS2M9
dc.relation.doi10.1371/journal.pone.0306974
dc.relation.funderResearch Council of Finlanden
dc.relation.funderEuropean Commissionen
dc.relation.funderSuomen Akatemiafi
dc.relation.funderEuroopan komissiofi
jyx.fundingprogramCentre of Excellence, AoFen
jyx.fundingprogramERC Consolidator Grant, HEen
jyx.fundingprogramHuippuyksikkörahoitus, SAfi
jyx.fundingprogramERC Consolidator Grant, HEfi
jyx.fundinginformationWhile conducting this work, NCH received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement No 754513, the European Research Council (ERC) under the European Union’s Horizon Europe research and innovation programme grant agreement No 101045747, and The Aarhus University Research Foundation. At the start of the project, LR was a postdoctoral fellow with the ACTOR Project (Analysis, Creation, and Teaching of ORchestration), funded by the Social Sciences and Humanities Research Council (SSHRC) and McGill University. The ACTOR Project also provided funding for this study.
dc.type.okmA1


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