The Development of Absolute Pitch: The Early Training Theory

1. IntroductionAbsolute pitch is a distinct cognitive ability possessed a minority of musicians, that refers to the unique capacity of recognizing and naming the pitch of given sounds without the use of an external reference pitch (Takeuchi & Hulse, 1993; Bermudez & Zatorre, 2009; Miyazaki & Ogawa, 2006; Deutsch et al, 2006; Baharloo et al, 1998; Gregersen et al, 1999; Brown et al, 2003; Pamcutt & Levitin, 1999; Deutsch, 2002; Levitin & Zatorre, 2003). Other definitions indicate the idea of quickly and accurately labeling tonal stimuli on the basis of their fundamental frequencies (without the use of a reference tone) (Ross et al, 2004, p. 1793).When discussing pitch, it is important to differentiate it from the relative pitch. This is why some definitions of pitch need to include this aspect: absolute pitch is the rare ability to name a music tone correctly without comparison to one (Cohen & Baird, 1990, p. 31). Relative pitch refers to the ability to recognize the relationships between musical notes. A person relying on relative pitch will name certain tones only if given a reference musical note and calculating the pitch ratios between the reference note and the new one. A musician with pitch will perceive and name the notes individually, without relating them to one another. The ability to judge one note in relation to another (relative pitch) is a basic musical skill intended to be acquired most of the music education programs. Excellent relative pitch is common among musicians, can be developed through ear training exercises and is very important in musical practice.Another essential facet of pitch is its automatic character. Those who have pitch claim that identifying pitches is effortless and immediate and that they make no special effort or conscious strategy in naming the tones Some authors (Pamcutt & Levitin, 1999) even suggest a shortcoming associated to pitch. Referring to people with pitch, the two Canadian researchers imply that their constant awareness of musical pitch labels can detract from their enjoyment of music. Many times musicians with pitch may complain: don't hear melodies, I hear pitch names passing by (Pamcutt & Levitin, 1999, p. 12). The capacity to name notes with a minimum of deliberation and in a very short time is often used in unraveling real pitch owners from musicians with very good relative pitch who sometimes memorize the frequency of one or two musical notes.2. Prevalence of pitchThe proportion of pitch possessors is roughly estimated to be less than one to 1500 or even one to 10000 in the general population (Miyazaki & Ogawa, 2006). Among musicians, the estimated proportion of pitch possessors varies from 3.4% to about 15%, or sometimes to 40% (Miyazaki & Ogawa, 2006; Pamcutt & Levitin, 1999). Gregersen and collaborators (Gregersen et al, 1999) observed large variations in pitch prevalence among music student populations: conservatory (24.6%), university-based school of music (7.3%), or liberal arts/state university music program (4.7%).Absolute pitch is more prevalent among blind musicians, with a proportion of 57% (Hamilton et al, 2004). The finding was interpreted as a result of specific neurological features related to the increased variability of planum temporale asymmetry among blind pitch musicians. The notion that cross-modal plasticity involving the occipital cortex may provide an additional neural substrate for the development of pitch in the blind is an intriguing hypothesis that merits further investigation.Another interesting aspect about pitch is its curiously high prevalence among Asian musicians. The fact has been explained in various ways. Gregersen and his colleagues (Gregersen et al, 1999) found a significant correlation between pitch and the age at which and individual first began playing music. …

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