Stephen C. Van Hedger

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Many individuals are able to perceive when the tuning of familiar stimuli, such as popular music recordings, has been altered. This suggests a kind of ubiquitous pitch memory, though it is unclear how this ability differs across individuals with and without absolute pitch (AP) and whether it plays any role in AP. In the present study, we take advantage of a(More)
What do listeners know about sounds that have a systematic organization? Research suggests that listeners store absolute pitch information as part of their representations for specific auditory experiences. It is unclear however, if such knowledge is abstracted beyond these experiences. In two studies we examined this question via a tone adjustment task in(More)
Most individuals have reliable long-term memories for the pitch of familiar music recordings. This pitch memory (1) appears to be normally distributed in the population, (2) does not depend on explicit musical training, and (3) only seems to be weakly related to differences in listening frequency estimates. The present experiment was designed to assess(More)
Absolute pitch (AP) is the rare ability to name or produce an isolated musical note without the aid of a reference note. One skill thought to be unique to AP possessors is the ability to provide absolute intonation judgments (e.g., classifying an isolated note as "in-tune" or "out-of-tune"). Recent work has suggested that absolute intonation perception(More)
Absolute pitch (AP) is defined as the ability to label a musical note without the aid of a reference note. Despite the large amounts of acoustic variability encountered in music, AP listeners generally experience perceptual constancy for different exemplars within note categories (e.g., recognizing that a C played on a tuba belongs to the same category as a(More)
Absolute pitch (AP) is typically defined as the ability to label an isolated tone as a musical note in the absence of a reference tone. At first glance the acquisition of AP note categories seems like a perceptual learning task, since individuals must assign a category label to a stimulus based on a single perceptual dimension (pitch) while ignoring other(More)
In our auditory environment, we rarely experience the exact acoustic waveform twice. This is especially true for communicative signals that have meaning for listeners. In speech and music, the acoustic signal changes as a function of the talker (or instrument), speaking (or playing) rate, and room acoustics, to name a few factors. Yet, despite this acoustic(More)
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