REFERENCES Abrams, M. (2001). The biology of… perfect pitch: Name that tone. Can your child learn some of Mozart’s magic? Discover, December, 22 (12),
ABRSM. Scales, Arpeggios, and Broken Chord: Piano, Grade 3. London: The Associated Board of the Royal Schools of Music Publishing Ltd., 3. Agay, D. Denes Agay’s Learning to Play Piano, Book 1: Primer (New Revised Edition with Colour Guide). New York: Yorktown Music Press, Inc., 5 & 7.
Alcott, M. (1997). An Introduction to Children with Special Education Needs. Scotland: Holder & Stoughton Educational.
American Standards Association (1960). Acoustical Terminology SI, 1-1960. New York: American Standards Association.
Andrews, F. M. and Deih, N. C. (1967). Development of a Technique for Identifying Elementary School Children’s Musical Concepts. US Office of Education Project 5-0233, Washington, D.C.
Anastasi, A. and Levee, R. F. (1960). Intellectual deficit and musical talent: A case report. American Journal of Mental Deficiency. 64 (4), 695-703.
Annett, J. (1989). Skills. In A. M. Colman and J. G. Beaumont (Eds.), Psychology Survey. London: Routledge.
Atkinson, R. C. and Shiffrin, R. M. (1977). Human Memory: A proposed system and its control process. In G. H. Bower (Ed.), Human Memory: Basic Process. New York: Academic Press.
Attneave, F. and Olson, R. K. (1971) Pitch as a medium: A new approach to psycholophysical scaling. American Journal of Psychology, 84, 147-166.
Bachem, A. (1937). Various types of absolute pitch. Journal of the Acoustical Society of America, 9, 146-151.
Bachem, A. (1940). The genesis of absolute pitch. Journal of the Acoustical Society of America, 11, 434-439.
Bachem, A. (1948a). Chroma fixation at the ends of the musical frequency scale. The Journal of the Acoustical Society of America, 20 (5), 704-705.
Bachem, A. (1948b). Note on Neu’s review of the literature on absolute pitch. Psychological Bulletin, 45 (2), 161-162.
Bachem, A. (1954). Time factor in relative and absolute pitch determination. The Journal of the Acoustical Society of America, 26 (5), 751-753.
Bachem, A. (1955). Absolute pitch. Journal of the Acoustical Society of America, 27 (6), 1180-1185.
Backus, J. (1969). The Acoustical Foundations of Music. New York: W. W. Norton & Co. 267 Baddeley, A. D. (1976). The Psychology of Memory. New York: Basic Books.
Baggaley, J. (1974). Measurements of absolute pitch. Psychology of Music, 2 (2), 11-17.
Baharloo, S.; Johnston, P.A.; Services, S.K.; Gitschier, J; and Freimer, N.B. (1998). Absolute pitch: An approach for identification of genetic and non-genetic components. American Journal of Human Genetics, 62, 224-231.
Baharloo, S.; Services, S. K.; Risch, N.; Gitschier, J.; and Freimer, N. B. (2000). Familial aggregation of absolute pitch. America Journal of Human Genetics, 67 (3), 755-758.
Baird, J. W. (1917). Memory of absolute pitch: Studies in Psychology, Titchener Commemorative Volume. Worcesler, MA: Wilson, 43-78.
Balzano, G. J. (1984). Absolute pitch and pure tone identification. The Journal of Acoustical Society of America, 75 (2), 623-625.
Balzano, G. J. (1986). What are musical pitch and timbre? Music Perception, 3 (3), 297-314.
Barbour, J. M. (1972). Tuning and Temperament: A Historical Survey. New York: Da Capo Press.
Barnea, A; Granot, R. and Pratt, H. (1994). Absolute pitch-Electrophysiology evidence. International Journal of Psychophysiology, 16 (1), 29-38.
Bartholomew, W. T. (1942). Acoustics of Music. New York: Prentice-Hall. Bastien, J. Bastien Piano Basics: Piano, Primer Level. San Diego: Neil A. Kjos Music Company, 8-12, 14 & 43.
Bekerian, D. A. and Baddeley, A. D. (1980). Saturation Advertising and the repetition effect. Journal of Verbal Learning and Verbal Behaviour, 19, 17-25.
Benguerel, A. P. and Westdal, C. (1991). Absolute pitch and the perception of sequential musical intervals. Music Perception, 9 (1), 105-120.
Bergeson, T. R. and Trehub, S. E. (2002). Absolute pitch and tempo in mothers' songs to
infants. Psychological Science, 13 (1), 72-75.
Block, L. (1983). Comparative tone-colour responses of college music majors with absolute pitch and good relative pitch. Psychology of Music, 11 (2), 59-66.
Board of Education. (1996). Report of the Sub-committee on Special Education. Hong Kong: The Government Printer.
Boggs, L. P. (1907). Studies in absolute pitch. American Journal of Psychology, 18 (2), 194-205.
Brady, P. T. (1970). Fixed-scale mechanism of absolute pitch. The Journal of the Acoustical Society of America, 48, 883-887.
268 Brammer, L. M. (1951). Sensory cues in pitch judgement. Journal of Experimental Psychology, 41 (5), 336-340.
Braun, M. (2001). Speech mirrors norm-tones: Absolute pitch as a normal but precognitive trait. Acoustics Research Online, April, 85-90.
Braun, M. (2002). Absolute pitch in emphasized speech. Acoustics Research Letters Online, March, 77-82.
Brown, J. A. (1958). Some test of the decay theory of immediate memory. Quarterly Journal of Experimental Psychology, 10, 12-21.
Brown, A. and Dowling, P. (1998). Doing Research / Reading Research: A Mode of Interrogation for Education. London: The Falmer Press.
Brown, K. (1999). Striking the right note. New Scientists, 164 (2215), 38.
Brown, S.; Merker, B. and Wallin, N. L. (2001). An introduction to evolustionary Musicology. In N.L. Wallin, B. Merker, and S. Brown (Eds.), The Origins of Music (2nd ed.). Massachusett: The MIT Press, 3-24.
Brown, W. A.; Cammuso, K.; Sachs, H.; Winklosky, B.; Mullane, J.; Bernier, R.; Svenson, S.; Arin, D.; Rosen-Sheidley, B. and Folstein, S. E. (2003). Autism-related language, personality and cognition in people with absolute pitch: result of a preliminary study. Journal of Autism and Developmental Disorders, 33, 163-167.
Burnam, E. M. A Dozen A Day, Book 1 (Chinese Version). Taipei: Tien Yin Publishing, 27.
Burge, D.L. (1986). The Perfect Pitch Ear-Training Course. America Educational Music Publications, Inc.
Burlingham, D. (1976). The Psychoanalytic Study of the Child, Volume XXIII. New York: International University Press, Inc.
Burns, M. (1999). Intervals, Scales, and Tuning. In Deutsch (Ed.). The Psychology of Music (2nd ed.). San Diego: Academic Press, 215-264.
Burns, E. M. and Campbell, S. L. (1994). Frequency and Frequency-ratio resolution by possessors of relative and absolute pitch: Examples of categorical perception? The Journal of the Acoustical Society of America, 96 (5), Pt. 1, 2704-2719.
Burns, E. M. and Feth, L. L. (1983). Pitch of sinusoids and complex tones above 10kHz. In R. Klinke and R. Hartmann (Eds.), Hearing-Physiological Bases and Psychophysics. Berlin: Springer-Verlag.
Burns, E. M. and Ward, W. D. (1978). Categorical-phenomenon or epiphenomenon? Evidence from experiments in the perception of melodic musical intervals. The Journal of the Acoustical Society of America, 63, 456-488.
Butler, D. (1992). The Musician’s Guide to Perception and Cognition. New York: Schirmer Books.
269 Campbell, M. and Greated, C. (1987). The Musician’s Guide to Acoustics. New York: Schirmer Books.
Carpenter, A. (1951). A case of absolute pitch. Quarterly Journal of Experimental Psychology, 3, Pt. 2, 92-93.
Carroll, J. B. (1975). Speed and accuracy of absolute pitch judgements: Some latter-day results. Educational Testing Service Research Bulletin (RB-75-35). Princetion, NJ: Educational Testing Service.
Carroll, J. B. and Greenberg, J. H. (1961). Two cases of synesthesis for colour and musical tonality associated with absolute pitch ability. Perceptual and Motor Skills, 13, 48.
Carterette, E. C. and Kendall, R. A. (1999). Comparative music perception and cognition. In D. Deutsch (Ed.). The Psychology of Music (2nd ed.). San Diego: Academic Press, 725-791.
Chang, C. C. (2003). Fundamentals of Piano Practice (2nd ed.).
Charness, N.; Clifton, J. and MacDonald L. (1988). Case study of a musical “mono-savant”: A cognitive-psychological focus. In L. K. Obler and D. Fein (Eds.), The Exceptional Brain: Neuropsychology of Talent and Special Abilities. New York: The Guilford Press, 277-293.
Cherulnik, P. D. (2001). Methods for Behavioural Research: A Systematic Approach. California: Sage Publications, Inc.
Cohen, J. (1988). Statistical Power and Analysis for the Behaviour Sciences (2nd ed.). Hillsdale, NJ: Lawrence Erlbaum Associates.
Cohen, A. J. and Baird, K. (1990). The acquisition of absolute pitch: The question of critical periods. Psychomusicology, 9 (1), 31-37.
Comer, D. (1985, May 16). Musical talent brightens life of blind severely retarded man. The Toronto Star, 6.
Copp, E. F. (1916). Musical ability. Journal of Heredity, 7, 297-305.
Corliss, E. L. (1973). Remark on “fixed-scale mechanism of absolute pitch”. The Journal of the Acoustical Society of America, 53, 1737-1739.
Collier, J. L. (1983). Louis Armstrong: An American Genius. New York: Oxford University Press.
Corso, J. F. (1957). Absolute judgements of musical tonality. The Journal of the Acoustical Society of America, 29 (1), 138-144.
Crozier, J. (1980). Absolute pitch. Paper presented at the International Society for Empirical Aesthetics, Montreal.
270 Crozier, J. B. (1997). Absolute Pitch: Practice makes perfect, the earlier the better. Psychology of Music, 25, 110-119.
Crummer, G. C.; Walton, J. P.; Wayman, J. W.; Hantz, E. C. and Frisina, R. D. (1994). Neural processing of musical timbre by musicians, non-musicians and musicians possessing absolute pitch. The Journal of the Acoustical Society of America, 95 (5), Pt. 1, 2720-2727.
Crutchfield, W. (1990). There may be more to music than meets a typical ear. The New York Times, December 23, 31 & 42.
Costall, A. (1985). The relativity of absolute pitch. In P. Howard, I. Cross, and R. West (Eds.), Musical Structure and Cognition. San Diego, CA: Academic Press, 189-208.
Costall, A. (1987). The magical number seven plus and minus two: the problem of perfect pitch. Psychology of Music, 15, 109.
Cuddy, L. L. (1968). Practice effects in the absolute judgement of pitch. The Journal of the Acoustical Society of America, 43, 1069-1076.
Cuddy, L. L. (1970). Training the absolute identification of pitch. Perception and Psychophysics, 8 (5A), 265-269.
Cuddy, L. L. (1971). Absolute judgement of musically-related pure tones. Canadian Journal of Psychology, 25 (1), 42-55.
Cuddy, L. L. (1977). Perception of Structured Melodic Sequences. Paper presented at the Conference on Musical Perception, July, Pairs, France.
Curtiss, S. (1977). Genie: A Psycholinguistic Study of a Modern-Day ‘Wild Child’. London: Academic Press.
Dan, S. (1998). Perfect pitch. Generation Gill Sans.
Davis, J. B. (1978). The Psychology of Music. London: Hutchinson.
Davis, H.; Silverman, S. R. and McAuliffe, D. R. (1951). Some observations on pitch and frequency. The Journal of the Acoustical Society of America, 23, 40-42.
De Cogan, D. (1999). Letter. New Scientists, 164 (2218), 87.
De Vetten, P. (Accessed 8/21/02). Perfect Pitch Page,
Dean, J. (1996). Managing Special Needs the Primary School. London: Routledge.
Demany, L. and Armand, F. (1984). The perceptual reality of tone chroma in early infancy. The Journal of the Acoustical Society of America, 76 (1), 57-66.
Deutsch, D. (1973). Octave generalization of specific interference effects in memory for tonal pitch. Perception and Psychophysic, 13, 271-275.
271 Deutsch, D. (1986). Absolute Pitch. Down Beat, January, 54-55.
Deutsch, D. (1999). Acoustical Society of America 138th meeting Lay Language Papers, Tone Language Speakers Possess AP.
Deutsch, D. (2002). The Puzzle of Absolute Pitch.
Diaz Vazquez, C. A. (Ed.) (Updated 01.05.2003). To Breathe, The Asthma in Children and Adolescents Gateway. Info-Parents: Asthma Definition
Dickinson, A. (1999). Little musicians: It may not give your child perfect pitch, but early exposure to music is still worthwhile. Time, 154 (24), 114.
Dowling, W. J. (1986). Context effects on melody recognition: Scale-step versus interval representations. Music Perception, 3, 281-296.
Dowling, W. J. (1992). Perceptual grouping, attention and expectancy in listening to music. In J. Sundberg (Ed.) Gluing tones: Grouping in Music Compositon, Performance and Listening. Stockholm: Publications of the Royal Swedish Academy of Music, 72, 77-98.
Dowling, W. J. (1999). Development of music perception and cognition. In Diana Dentsch (Ed.), The Psychology of Music (2nd ed.). San Diego: Academic Press, 603-625.
Duell, O. K. and Anderson, R. C. (1967). Pitch discrimination among primary school children. Journal of Educational Psychology, 58, 315-318.
Dunlap, K. (1909). The extensity theory of pitch. The Psychological Bullentin, 6 (2), 58-59.
Dunlap, K. (1922). The Elements of Scientific Psychology. St Louis: Mosby.
Eaton, K. E., and Siegel, M. H. (1976). Strategies of absolute pitch possessors in the learning of an unfamiliar scale. Bulletin of the Psychonomic Society, 8, 289-291.
Education Act. (1996). London: Her Majesty's Stationary Office.
Eppstein, L. (1997). UCSF researchers seek subjects for perfect-pitch study. Jewish Bulletin Online,
Ericsson, K. A. and Faivre, I. A. (1988). What's exceptional about exceptional abilities. In L. K. Obler, and D. Fein (Eds.), The Exceptional Brain: Neuropsychology of Talent and Special Abilities. New York: The Guilford Press, 436-473.
Ericsson, K. A.; Krampe, R. T. and Tesch-Romer, C. (1993). The role of deliberate practice in the acquisition of expert performance. Psychological Review, 100, 363-406.
Eriksen, C. W. and Hake, H. W. (1957). Anchor effects in absolute judgement. Journal of Experimental Psychology, 53 (2), 132-138. 272 Evangelista, A. (1998). Name that tone-Scientists look for perfect pitch gene. Daybreak News,
Farnsworth, P. R. (1958). The Social Psychology of Music. New York: The Dryden Press.
Fletcher, M. (1934). Loudness, pitch and the timbre of musical tones and their relation to the intensity, the frequency, and the overtone structure. The Journal of the Acoustics Society of America, 6, 59-69.
Fraser, B. (1992) Hearing Impairments. In R. Gulliford and G. Upton (Eds.), Special Education Needs. London: Routledge, pp.147.
Frehub, S.; Schellemnerg, G. and Hill, D. (1997). The origins of music perception and cognition: A developmental perspective. In I. Deliege and J. Sloboda (Eds.), Perception and Cognition of Music. East Sussex: Psychology Press.
Frith, U. and Happé, F. (1994). Autism: Beyond “theory of mind”. Cognition, 50, 115-132.
Fromkin, S.; Krashen, S.; Curtiss, S.; Rigler, D. and Rigler, M. (1974). The development of language in Genie: a case of language acquisiton beyond the “C ritical Period” . Brain and Language, 1, 81-107.
Fujisaki, W. and Kashino, M. (2002). The basic hearing abilities of absolute pitch possessors. Acoustical Science and Technology, 23 (2), 77-83.
Fulgosi, A. and Zaja, B. (1975). Information transmission of 3.1 bits in absolute identification of auditory pitch. Bulletin of the Psychonomic Society, 6 (4A), 379-380.
Gaede, S. E.; Parsons, O. A. and Bertera, J. H. (1978). Hemispheric differences in music perception: Aptitude vs. experience. Neuropsychologia, 16, 369-373.
Gall, M. D.; Borg, W. R. and Gall, J. P. (1996). Educational Research: An Introduction. White Plains, New York: Longman.
Garner, W. R. (1953). An information analysis of absolute judgements of loudness. Journal of Experimental Psychology, 46, 373-380.
Garner, W. R. and Hake, H. W. (1951). The amount of information in absolute judgement. Psychological Review, 58 (6), 446-459.
Gay, L. R. and Airasian, P. (2003). Educational Research: Competencies for Analysis and Applications. New Jersey: Merrill Prentice Hall Inc.
Goodwin. C. J. (2002). Research in Psychology: Method and Design (3rd ed.). New York: John Wiley & Sons, Inc.
Gonzally, V. (1998). Early Training and Perfect Pitch. <
Gorard, S. (2001). Quantitative Methods in Education Research. London: Continuum.
273 Gordon, H. W. and Bogen, J. E. (1974). Hemispheric lateralization of singing after intercarotoid sodium amylobarbitone. Journal of Neurology & Neurosurgery. 37, 727-738.
Gough, E. (1922). The effects of practice on judgements of absolute pitch. Archives of Psychology, 7 (47), 1-93.
Graham, D. E. (1999). UCSD proof makes a hard pitch for perfect pitch/ she says most can get it, if they work on it early. The San Diego Union-Tribune Archive Document, Decemder 12,
Gregersen, P. K. (1998). Instant recognition: The genetics of pitch perception. American Journal of Human Genetics, 62 (2), 221-223.
Gregersen, P. K. (2001). Studies of Genetic Influence on Absolute Pitch.
Gregersen, P. K; Kowalsky, E; de Andrade, M. and Jawaheer, D. (1997). Affected sib pair analysis of families with absolute pitch (AP): Exclusion of the Williams locus. America Journal of Human Genetics, 61, pt.2, No.2337, A399.
Gregersen, P. K; Kowalsky, E; Kohn, N. and Marvin, E. W. (1999). Absolute pitch: Prevalence, ethnic variation, and estimation of the genetic component. American Journal of Human Genetics, 65, 911-913.
Gregersen, P. K and Kumar, S. (1996). The genetics of perfect pitch. American Journal of Human Geneties, 59, Pt.2, No.1015, A179.
Gross, R. and McJlveen, R. (2002). Psychology: A New Introduction. London: Hodder & Stonghton Educational.
Gulliford, R. (1971). Special Educational Needs. London: Routledge & Kegau Paul.
Gulliford, R. (1992). Learning Difficulties. In R. Gulliford and G. Upton (Eds.), Special Educational Needs. London: Routledge, pp.41-59
Hall, A. (1999). Speaking in tones. Scientific American, November 1,
Hall, C. T. (2002). Noting the perfect pitch-Rare musical ability to distinguish sounds by ear could be genetic. San Francisco Chronicale Science, January 14,
Hall, D. E. (1982). “Practically perfect pitch”: Some comments. The Journal of Acoustical Society of America, 71 (3), 754-755.
Halpern, A. R. (1989). Memory for the absolute pitch of familiar songs. Memory and Cognition, 17, 572-581.
Haluška, J. (2000). Equal temperament and Pythagorean tuning: A geometrical interpretation in the plane. Fuzzy Sets and Systems, 114, 261-269.
274 Hamer, M. (2001). Pitch perfect. New Scientist, December 22, 172 (2322), 50.
Hammersley, M. and Atkinson, P. (1995). Ethnography: Principles and Practice (2nd ed). London: Routledge.
Hantz, E. C.; Crummer, G. C.; Wayman, J. W.; Walton, J. P. and Frisina, R.D. (1992). Effects of musical training and absolute pitch or the neural processing of melodic intervals: A P3 Event-Related Potential Study. Music Perception, 10 (1), 25-42.
Hantz, E. C.; Kreilick, K. G.; Marvin, E. W. and Chapman, R. M. (1997). Absolute pitch and sex affect event-related potential for a melodic interval discrimination task. Journal of Acoustical Society of America, 102 (1), 451-460.
Hargreaves, D. (1997). The Developmental Psychology of Music. Cambridge: University Press.
Harris, J. D. (1949). Pitch discrimination and absolute pitch. Psychological Abstract, 23, 578-579.
Hartman, E. B. (1954). The influence of practice and pitch-distance between tones on the absolute identification of pitch. The American Journal of Psychology, 67(1), 1-14.
Hayes, N. (1996). Foundations of Psychology: An Introductory Text. London: Thomas Nelson & Sons.
Heaton, P.; Hermelin, B. and Pring, L. (1998). Autism and pitch processing: A precursor for savant musical ability? Music Perception, 15 (3), 291-305.
Heaton, P.; Pring, L. and Hermelin, B. (1999). A pseudo-savant: A case of exceptional musical splinter skills. Neurocase, 5 (6), 503-509.
Heller, M. A. and Auerbach, C. (1972). Practice effects in the absolute judgement of frequency. Psychonomic Science, 26 (4), 222-224.
Helmholtz, H. (1954). On the Sensation of Tone as a Physiological Basis for the Theory of Music, (A. J. Ellis trans.). New York: Dover.
Henson, R. A. (1977). Neurological aspect of musical experience. In M. Critchley and R. A. Henson (Eds), Music and the Brain. Southampton: Camelot Press, 3-21.
Hermelin, B.; O'Connor, N. and Lee, S. (1987). Musical inventiveness of five idiot -savants. Psychological Medicine, 17, 685-694.
Hermelin, B; O'connor, N.; Lee, S. and Treffert, D. (1989). Intelligence and musical improvisation. Psychological Medicine, 19, 447-457.
Hickok, G.; Bellugi, U. and Jones, W. (1995). Asymmetrial abilities. Science, 270, 219-220.
Hill, A.L. (1977). Idiot savants: Rate of incidence. Perceptual and Motor Skills, 44, 161-162.
275 Hindemith, P. (1969). Elementary Training for musicians. London: Schott & Co.
Hong Kong Government. (1976). The Further Development of Rehabilitation Services in Hong Kong. Hong Kong: the Government Printer.
Hong Kong Government. (1981). Hong Kong-Wechsler Intelligence Scale for Children: Manual. Hong Kong: The Government Printer.
Hong Kong Government. (1995). White Paper on Rehabilitation- Equal Opportunities and Full Participation: A Better Tomorrow for All. Hong Kong: the Government Printer.
Hornby, G; Gregan, D; and Taylor, G. (1995). The Special Educational Need Co-ordinator’s Handbook: A Guide for Implementing the Code of Practise. London: Routledge.
Howe, M. J. A.; Davidson, J. W. and Sloboda, J. A. (1998). Innate gifts and talents: Reality or myth: The Behavioural and Brain Sciences, 21, 399-442.
Hull, C. L. (1943). Principles of Behaviour. New York: Appleton-Century.
Jaques-Dalcrose, E. (1921). Rhythm, Music and Education. London: Chatto & Windus.
Jeffress, L. A. (1962). Absolute pitch. The Journal of the Acoustical Society of America, 34, 987.
Johanse-Berg, H. (2001). Perfect Pitch. Trends in Cognitive licenses. 5 (4), 138.
J. T. (2000). Perfect pitch common among the blind. Science News, 158 (22), 344.
Kacker, A. (ed.) (Updated 11.09.2001). Speech Disorders. Medline Plus Health Information. <
Keenan, J. P.; Thangaraj, V.; Halpern, A. R. and Schlaug, G. (2001). Absolute pitch and planum temporale. NeuroImage, 14, 1402-1408.
Kirchhubbel, J. (2000). Absolute Pitch: Effects of Family Background, Exposure, Instrumental Timbre and Register.
Kisell, E.; Natanson, V.; Nikolaev, A. and Sretenskaya, N. The Russian School of Piano Playing 1 Part II. London: Boosey & Hawkes Music Publishers, 39.
Klein, M.; Coles, M. G. H. and Donchin, E. (1982). Electrophysiology of absolute pitch. Psychophysiology, 19, 569.
Klein, M.; Coles, M. G. H., and Donchin, E. (1984). People with absolute process tones without producing a P300. Science, 223, 1306-1308.
Kramer, A. W. (1916). To teach absolute pitch by colour sense. Musical America, Novmber 4, 25, 19.
276 Kreader, B.; Kern, F.; Keverer, P. and Rejino, M. Hal Leonard Student Piano Library: Piano Lessons, Book 1 (Chinese Edition). Taipei: Tien Yin Publishing, 7-9, 12-20, 24-25, 28-29.
Krieger, L. M. (1997). Perfect pitch: Nature or nurture? University of California Genetics of Absolute Pitch Study Press, Wysiwyg:111341.
Krumhansl, C. L. (1991). Music psychology: Tonal structures in perception and memory. Annual Review of Psychology, 42, 277-303.
Ladd, G. and Woodworth, R. S. (1911). Elements of Physiological Psychology. New York: Scribners.
Ladd, D. R. (1999). Perfect pitch. New Scientists, 164(2218), 87.
Lawton, J. (1999). Letter. New Scientists, 164 (2218), 87.
Leedy, P. D. (1997). Practical Research: Planning and Design (6th ed.). New Jersey: Prentice-Hall Inc.
Lenhoff, H. M.; Perales, O. and Hickok, G. (2001). Absolute pitch in Williams syndrome. Music Perception, 18 (4), 491-503.
Lenneberg, E. H. (1967). Biological Foundations of Language. New York: Wiley.
Levitin, D. J. (1994). Absolute memory for musical pitch: Evidence from the production of learned melodies. Perception and Psychophysics, 56 (4), 414-423.
Levitin, D. J. (1998). Absolute pitch: Self-reference and human memory. CASYS 981-AP.
Levitin, D. J. and Zatorre, R. J. (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.
Lewis, D. (1937). Pitch, its definition and physical determinates. University of Iowa Studies of Psychology and Music, 4, 346-373.
Lian, M.-G. J. (1999). Technology and Humanities: Assistive technologies with physical disabilities. Sino-U.S.-Canada Science and Technology, 1-2.
LLoyd, S. (1942). Absolute Pitch. The Musical Times, 83 (1198), 379-380.
Lockhead, G. R. (1981). Practically perfect pitch. The Journal of the Acoustical Society of America, 70 (2), 387-389.
Lockhead, G. R. (1982). Practically perfect performance. The Journal of the Acoustical Society of America, 71 (3), 755-756.
Lockhead, G. R., and Byrd, R. (1981). Practically perfect pitch. The Journal of the Acoustical Society of America, 70 (2), 387-389.
277 Loftus, E. F. and Loftus, G. (1980). On the permanence of stored information in the human brain. American Psychologist, 35, 409-420.
Lundin, R.W. (1953). An Objective Psychology of Music. New York. The Ronald Press.
Lundin, R. W. (1963). Can perfect pitch be learned? Music Education Journal, 69, 49-51.
Lundin, R. W. (1967). An Objective Psychology of Music (2nd ed.). New York: The Ronald Press.
Lundin, R. W. and Allen, J. D. (1962). A technique for training perfect pitch. Psychological Record, 12, 139-146.
Macpherson, F. (2000). Perfect pitch and the content of experience. The Consciousness in the Natural World Project, University of Stirling.
Marin, O. S. and Perry, D. W. (1999). Neurological aspects of musical perception and performance. In D. Deutsch (Ed.), The Psychology of Music (2nd Ed.). San Diego: Academic Press, 653-724.
Martin, D. W. and Ward, W. D. (1961). Subjective evaluation of musical scale temperament in pianos. The Journal of the Acoustical Society of America, 33 (5), 582-585.
Marvin, E. W. & Brinkman, A. R. (2000). The effect of key colour and timbre on absolute pitch recognition in musical contexts. Music Perception, 18 (2), 111-137.
Meyers, C.S. (1911). A Testbook of Experimental Psychology. Cambridge: University Press.
Meyer. M. (1899). Is the memory of absolute pitch capable of development by training? The Psychological Review, 51 (5), 514-516.
Meyers, C. (1915). Two cases of synesthesia. British Journal of Psychology, 7, 112-117.
Meyer, M. (1956). On memorizing absolute pitch. The Journal of the Acoustical Society of America, 28 (4), 718-719.
Meyer-Eppler, W. (1954). Mathematische-akustische grundlager der elektrischen klang-komposition. Technische Hausmitteilungen des Nordwestdeutschen Rundfunks. (H. A. G. Nathan, trans. (1956), The mathematical-acoustical fundamentals of electrical sound composition. Technical Translation TT-608, National Research Council of Canada, 6, 29-39).
Miller, G. A. (1956). The magical number seven, plus or minus two: Some limits or our capacity for processing information. The Psychological Review, 63 (2), 81-97.
Miller, L. K. and Clausen, H. (1997). Pitch identification in children and adults: Naming and discrimination. Psychology of Music, 25, 4-17.
Miller, L. L. (1989). Musical Savants: Exceptional Skill in the Mentally Retarded. Hillsdale, New Jersey: Lawrence Erlbaum Associates. 278 Minogue, B. M. (1923). A case of secondary mental deficiency with musical talent. Journal of Applied Psychology, 7, 349-352.
Miyazaki, K. (1988). Musical pitch identification by absolute pitch possessors. Perception and Psychophysics, 44 (6), 501-512.
Miyazaki, K. (1989). Absolute Pitch identification: effects of timbre and pitch region. Music Perception, 7 (1), 1-14.
Miyazaki, K. (1990). The speed of musical pitch identification by absolute-pitch possessors. Music Perception, 8 (2), 177-188.
Miyazaki, K. (1992). Perception of musical intervals by absolute pitch possessors. Music Perception, 9 (4), 413-426.
Miyazaki, K. (1993). Absolute pitch as an inability: Identification of musical intervals in a tonal context. Music Perception, 11 (1), 55-71.
Miyazaki, K. (1995). Perception of relative pitch with different references: Some absolute-pitch listeners can't tell musical intervals names. Perception and Psychophysics, 57 (7), 962-970.
Moore, B. J. (1997). An Introduction to the Psychology of Hearing. London: Academic Press.
Mottron, L.; Peretz, I.; Belleville, S. and Rouleau, N. (1999). Absolute pitch in autism: A case study. Neurocase, 5 (6), 485-507.
Mull, H. K. (1925). The acquisition of absolute pitch. American Journal of Psychology, 36 (4), 469-493.
Mursell, J. L. (1971). The Psychology of Music. Westport, Connectient: Greenwood Press.
Myers, C. S. (1907). The Ethnological Study of Music. Anthropological essays presented to Edward Burnett Tylor. Oxford: Clarendon Press, 235-253.
National Information Center for Children and Youth with Disabilities (NICHCY). (Updated 02.1996). General information about speech and language disorders (NICHCY), Fact Sheet Number 11 (FS11), LD Online Newsletter. <
Neal, R. C. (1983). An investigation of the possession of absolute pitch ability amongst children undergoing formal instrumental tuition in three schools. Bachelor of Philosophy Dissertation, University of Birmingham.
Neu, D. M. (1947). A critical review of the literature on ªAbsolute Pitchº. Psychological Bulletin, 44 (3), 249-266.
Neu, D. M. (1948). Absolute pitch - a reply to Bachem. Psychological Bulletin, 45 (6), 534-535.
Nowak, R. (1995). Brain center linked to perfect pitch. Science, 267 (5198), 616.
279 Oakes, W. F. (1951). An alternative interpretation of ªAPº. Transactions of the Kansas Academy of Science, 54, 396-406.
Oakes, W. F. (1955). An experimental study of pitch naming and pitch discrimination reactions. Journal of Genetics and Psychology, 86, 237-259.
Ogawa, Y. and Miyazaki, K. (1994). The process of acquisition of absolute pitch by children in Yamaha music school. Paper presented at the Third International Conference for Music Perception and Cognition, July, Liege, Belgium.
Ogden, R. M. (1924). Hearing. New York: Harcourt, Brace & Co.
Ohgushi, K. (1983). The origin of tonality and a possible explanation of the octave enlargement phenomenon. The Journal of the Acoustical Society of America, 73 (5), 1694-1700.
Ohgushi, K. and Hatoh, T. (1992). The musical Pitch of high frequency tones. In Y. Cazals, L. Demany , and K. Honer (Eds.), Auditory Physiology and Perception. Oxford: Pergamon Press.
Ohnishi, T. and Matsuda, H. (2001). Functional Anatomy of Musical Perception in Musicians. Cerebral Cortex, 11 (8), 754-760.
Olson, H. F. (1967). Music, physics and Engineering (2nd ed.). New York: Dover.
Oura, Y., and Eguchi, E. (1981). Is absolute pitch innate or Acquired? Paper presented at the Collequium of the XVIth International Music Festival, Brno, Czechoslovakia.
Owens, W. A., and Grimm, W. (1941). A note regarding exceptional musical ability in a low grade imbecile. The Journal of Educational Psychology, 32, 636-637.
Palmer, W. A.; Manus, M. and Lethco, A. V. Alfred Basic Piano Library—Lesson Book A, Prep Course (Chinese Edition). Taipei: Tien Yan Publishing Co. 8-15.
Pantev, C.; Oostenveld, R.; Engelien, A.; Ross, B.; Roberts, L. E. and Hoke, M. (1998). Increased auditory cortical representation in musicians. Nature, 392, 811-814.
Parncutt, R. and Levitin, D. J. (1999). Absolute pitch. Grove Dictionary.
Paulson, D. G.; Orlando, R. and Schoelkopf, A. M. (1967). Experimental analysis and manipulation of auditory generalization in three developmental retardates by discriminated-operant procedures (IMRI) Papers and reports 4, No.13. Nashville, TN: George Peabody College for Teachers, Institute on Mental Retardation and Intellectual Development.
Pechmann, T. (1998). Memory for chords: The retention of pitch and mode. Music Perception, 16 (1), 43-54.
Peterson, L. R. and Peterson, M. J. (1959). Short-term retention of individual items. Journal of Experimental Psychology, 58, 193-198.
280 Petran, L. A. (1932). An experimental study of pitch recognition. Psychological Monographs, 42 (6), 1-124.
Petran, L. A. (1939). The nature and meaning of absolute pitch. Music Teachers National Association Proceedings, 34, 144-152.
Pierce, J. R. (1999). The nature of musical sound. In D. Deutsch (Ed.) The Psychology of Music (2nd Ed.). San Diego: Academic Press, 1-23.
Pikler, A.G. (1954). Genesis of absolute pitch in the audio spectrum. The Journal of the Acoustical Society of America, 26 (5), 931-932.
Pollack, I. (1952). The information of elementary auditory display I. The Journal of the Acoustical Society of America, 24, 745-749.
Pollack, I. (1953). The information of elementary auditory displays II. The Journal of the Acoustical Society of America, 25, 765-769.
Poon-McBrayer, K. F. and Lian, M.-G. J. (2002). Special Needs Education: Children with Exceptionalities. Hong Kong: The Chinese University Press.
Profita, J. and Bidder, T.G. (1988). Perfect pitch. American Journal of Medical Gentics, 29, 763-771.
Radocy, R. E. and Boyle, J. D. (1979). Psychological Foundations of Musical Behaviour. Chicago: Thomas Publishing Co.
Radocy, R. E. and Haack, P. A. (1981). A case study of a chromesthetic. Journal of Research in Music Education, 29 (2), 85-90.
Rakowski, A. (1978). Investigations of absolute pitch. In E. P. Asmus, Jr. (Ed.), Proceedings of the Research Symposium on the Psychology and Acoustics of Music. Lawrence: University of Kansas, Division of Continuing Education, 45-47.
Rakowski, A. (1979). The magic number seven: two examples of binary apposition in Pitch theory. Humanities Association Review, 30, (1, 2), 24-45.
Rakowski, A. and Morawska-Bungeler, M. (1987). In search for the criteria of absolute pitch. Archives of Acoustics, 12, 75-87.
Rasch, R. and Plomp, R. (1999). The perception of musical tones. In D. Deutsch (Ed.), The Psychology of Music (2nd Ed). San Diego: Academic Press, 89-112.
Révész, G. (1925). The Psychology of a Musical Prodigy: The Philosophy and Scientific Method. New York: Harcourt, Brace & Co.
Révész, G. (1953). Introduction to the Psychology of Music (G. I. C. de Courcy, trans.). London: Longmans.
Richards, P. J. D. (1942). Individuality of keys and pitch. The Musical Times, 83 (1197), 348.
281 Rife, D. C. and Snyder, L. H. (1931). Studies in human inheritance VI: A genetic refutation of the principles of “ behaviouristic” psychology. Human Biology, 3 (4), 547-559.
Riker, B. L. (1946). The ability to judge pitch. Journal of Experimental Psychology, 36, 331-346.
Rimland, B. (1978). Savant capabilities of autistic children and their cognitive implications. In G. Serban (Ed.), Cognitive Defects in the Development of Mental Illness. New York: Brunner & Mazel, 43-64.
Rimland, B. and Fein, D. (1988). Special talents of autistic savants. In L. K. Obler, and D. Fein (Eds.), The Exceptional Brain: Neuropsychology of Talent and Special Abilities. New York: The Guilford Press, 474-492.
Roeder, J. (1999). Pitch class. Grove Music Article.
Roeder, J. (Accessed 27/05/02). Pitch class. In L. Macy (Ed.), The New Grove Dictionary of Music Online.
Rokowski, A. (1972). Direct comparison of absolute and relative Pitch. Hearing Theory. Eindhoven, the Netherlands: IPO.
Rush, M. (1989). An experiment investigation of the effectiveness of training on absolute pitch in adult musicians. Ph.D. Dissertation Abstracts International, 50, 826A (University Microfilms No. DA8913696), Ohio State University.
Rutz, D. (1996). Study of ‘perfect pitch’ bolsters ne w theories of brain development. CNN Interactive, May 19.
Sacks, O. (1995). Musical ability. Science, 268, 621.
Saffran, J. R. and Griepentrog, G. J. (2001). Absolute pitch in infant auditory learning: Evidence for development reorganization. Developmental Psychology, 37 (1), 74-85.
Scheerer, M.; Rothmann, E. and Goldstein, K. (1945). A case of ‘idiot savant’: An experimental study of personality Organization. Psychological Monographs. 58(4), 1-63.
Schlaug, G.; Jancke, L.; Huang, Y. and Steinmetz, H. (1995). In vivo evidence of structural brain asymmetry in musicians. Science, 267, 699-701.
Seashore, C. E. (1919). The Psychology of Musical Talent. New York: Silver, Burdett & Co.
Seashore, C. E. (1938). Inheritance of musical talent. Musical Quarterly, 6, 586-589.
Seashore, C. E. (1940). Acquired or absolute pitch. Music Education Journal, 26, 18.
Seashore, C. E. (1967). Psychology of Music. New York: Dover.
282 Semal, C. and Demany, L. (1990). The upper limit of ªmusicalº pitch. Music Perception, 8 (2), 165-175.
Sergeant, D. C. (1969). Experimental investigation of absolute pitch. Journal of Research of Music Education, 17, 135-143.
Sergeant, D. C. and Roche, S. (1973). Perceptual shifts in the auditory information processing of young children. Psychology of Music, 1 (2), 39-48.
Shepard, R. N. (1982). Structural representations of musical pitch. In D. Deutsch (Ed.) The Psychology of Music. New York: Academic Press, 343-390.
Shiels, M. (2002). Looking for genetic perfection. BBC News: Science / Technology, January 29.
Shuter-Dyson, R. and Gabriel, C. (1981). The Psychology of Musical Ability (2nd ed). London: Methuen.
Siegel, J. A. (1972). The Nature of absolute pitch. In I.E. Gordon (Ed.), Experimental Research in the Psychology of Music, Vol.8: Studies in the Psychology of music. Iowa City: University of Iowa Press, 65-89.
Siegel, J. A. (1974). Sensory and verbal coding strategies in subjects with absolute pitch. Journal of Experimental Psychology, 103 (1), 37-44.
Siegel, J. A. and Siegel, W. (1972). Absolute judgement and paired-associate learning: Kissing cousins or identical twins. Psychological Review, 79, 300-316.
Siegel, J. A. and Siegel, W. (1977a). Absolute identification of notes and intervals by musicians. Perception and Psychophysics, 21 (2), 143-152.
Siegel, J. A. and Siegel, W. (1977b). Categorical perception of tonal intervals: Musicians can't tell sharp from flat . Perception and Psychophysics, 21(5), 399-407.
Siegel, W. (1972). Memory effects in the method of absolute judgement. Journal of Experimental Psychology, 94 (2), 121-131.
Simpson, J. and Huron, D. (1994). Absolute pitch as a learned phenomenon: Evidence consistent with the Hick-Hyman Law. Music Perception, 12 (2), 267-270.
Slonimsky, N. (1988). Perfect Pitch: A Life Story. New York: Oxford University Press.
Sloboda, J. A.; Hermelin, B. and O' Connor, N. (1985). An Exceptional Musical Memory. Music Perception, 3 (2), 155-170.
Smith, R. H. C. (1942). Individuality of keys. The Musical Times, 83 (1193), 219.
Sommer, R. and Sommer, B. (2002). A Practical Guide to Behavioural Research: Tools and Techniques (5th ed.). New York: Oxford University Press.
Spender, N. (1980). Absolute pitch. In The New Grove Dictionary of Music and Musicians (vol.1). London: Macmillan.
283 Stanaway, R. G.; Morley, T. and Anastis, S. M. (1970). Tinnitus not a reference signal in judgments of absolute pitch. Quarterly Journal of Experimental Psychology, 22, 230-238.
Stary, A. (2002). A proposed study: The perfect pitch phenomenon.
Sundberg, J. (1991). The Science of Musical Sounds. San Diego, California: Academic Press.
Takeuchi, A. H., and Hulse, S. H. (1991). Absolute-pitch judgments of black- and white-key pitches. Music Perception, 9 (1), 27-46.
Takeuchi, A. H., and Hulse, S. H. (1993). Absolute pitch. Psychological Bulletin, 113 (2), 345-361.
Tasciotti, L. (1990). The technicians view: Voicing-The Great Controversy. The Piano Quarterly, 150, 51-55.
Tasciotti, L. (1991a). The technician’s view: Letters from our readers. The Piano Quarterly, 153, 61-63.
Tasciotti, L. (1991b). The technician’s view: The well -regulated grand piano. The Piano Quarterly, 154, 45-48.
Tasciotti, L. (1992). The technician’s view: Touch. The Piano Quarterly, Spring, 53-54.
Terhardt, E. (1974). Pitch, consonance, and harmony. The Journal of the Acoustical Society of America, 55, 1061-1069.
Terhardt, E. (1980). Towards understanding pitch perception: Problems, concepts, and solution. In G van den Brink and F. A. Bilsen (Eds.), Psychophysical, Physiological and Behavioural Studies in Hearing. Delft: Delft University Press.
Terhardt, E. (2000). Absolute Pitch.
Terhardt, E. and Ward, W. D. (1982). Recognition of musical key: Exploratory study. The Journal of the Acoustical Society of America, 72 (1), 26-33.
Terhardt, E. and Seewann, M. (1983): Aural Key Identification and Its Relationship to Absolute Pitch, Music Perception, 63-83.
Tervaniemi, M.; Alho, K.; Paavilainen, P.; Sams, M. and Näätänen, R. (1993). Absolute pitch and event-related brain potentials. Music Perception, 10 (3), 305-316.
Travers, M. (2001). Qualitative Research through Case Study. London: Sage Publications.
Travis, J. (1996). Pitching in to find a musical gene. Science News, 150 (20), 316.
Trehub, S.; Schellemberg, G. and Hill, D. (1997). The origins of music perception and cognition: A developmental perceptive. In I. Deliege and J. Sloboda (Eds.), Perception and Cognition of Music. East Sussex: Psychology Press.
284 Tuckman, B. W. (1999). Conducting Educational Research (5th ed). Forth Worth: Harcount Brace College Publishers.
Turner, M. (1997). Towards an excutive dysfunction account of repetitive behaviour in autism. In I. Russell (Ed.). Autism as an Executitive Disorder. New York: Oxford University Press, 57-100.
University of California Genetics of Absolute Pitch Study (UCGAPS) (2003).
Valentiner, C.W. (1913). Appreciation of musical intervals. British Journal of Psychology. P.190-216.
Van Krevelen, A. (1951). The ability to make absolute judgment of pitch. Journal of Experimental Psychology, 42 (2), 207-215.
Van Noorden, T. (1982). Two-channel pitch perception. In M. Clynes (Ed.), Music, Mind, and Brian. New York: Plenun Press.
Vernon, P. E. (1942a). The individuality of keys. The Musical Times, 83 (1190), 105-107.
Vernon, P. E. (1942b). The individuality of keys. The Musical Times, 83 (1191), 138-139.
Veron, P. E. (1977). Absolute pitch: a case study. British Journal of Psychology, 68, 485-9.
Viscott, D. S. (1970). A musical idiot savant: A psychodynamic study and some speculations on the creative process. Psychiatry, 33 (4), 494-515.
Ward, W. D. (1953). Information and absolute pitch. The Journal of the Acoustical Society of America, 25 (4), 833.
Ward, W. D. (1954). Subjective musical pitch. The Journal of Acoustical Society of America, 26 (3), 369-380.
Ward, W. D. (1963a). Absolute Pitch, Part 1. Sound, 2 (3), 14-21.
Ward, W. D. (1963b). Absolute Pitch, Part 2. Sound, 2 (4), 33-41.
Ward, W. D. (1999). Absolute pitch. In D. Deutsch (Ed.) The Psychology of Music (2nd ed.). San Diego: Academic Press, 431-451.
Ward, W. D. and Burns, E. M. (1982). Absolute pitch. In D. Deutsch (Ed.), The Psychology of Music. New York: Academic Press, 431-451.
Warnock, H. M. (1978). Reports of the Committee of Enquiry into the Education of Handicapped Children and Young People. London: Her Majesty's Stati onary Office.
Warren, D. (2002). Ask Experts/Answer No.165. Physics and Astronomy Online Education and Reference, August 2.
285 Watt, H. J. (1917). The Psychology of sound. Cambridge: Cambridge University Press.
Wayman, J. W.; Frisina, R. D.; Walton, J. P.; Hantz, E. C. and Crummer, G. C. (1992). Effects of musical training and absolute pitch ability on event-related activity in response to sine tones. The Journal of the Acoustical Society of America, 91 (6), 3527-3531.
Wedell, C. H. (1934). The nature of the absolute judgment of pitch. Journal of Experimental Psychology, 17 (4), 485-503.
Wedell, C. H. (1941). A study of absolute pitch. Psychological Bulletin, 38, 547-548.
Weinberger, N. M. (1999a). Brain anatomy and music. MuSICA Research Notes, 6 (2), 1-4.
Weinberger, N. M. (1999b). Music and the auditory system. In D. Deutsch (Ed.). The Psychology of Music (2nd ed.). San Diego: Academic Press, 47-87.
Welch, G. F. (1988). Observations on the incidence of absolute pitch (AP) ability in the early blind. Psychology of Music, 16, 77-80.
Welch, J. P. (1993). A consideration of the inheritance of musical talent on the occasion of the Mozart bicentenary. The Dalhousie Review, 73 (2), 153.
Wever, E. G. and Zener, K. E. (1928). The method of absolute judgement in psychophysics. Psychological Review, 35, 466-493.
Whipple, G. M. (1903). Studies in pitch discrimination. American Journal of Psychology, 14, 289-309.
Wilentz, J. S. (1968). The Senses of Man. New York: Crowell.
Wilkinson, S. (2002). Microtuning: Use your synth's alternative -tuning capability to achieve ªperfect pitchº. Electronic Musician, 18 (3), 140-143.
Willet, E. (2001). Perfect pitch. Intercalactic Library Science Columns.
Wing, L. (Ed.) (1976). Early Children Autism. Oxford: Pergamon Press.
Wiseman, D. C. (1999). Research Strategies for Education. Belmont, CA: Wadworth Publishing Co.
Wynn, V. T. (1971). ªAbsoluteº pitch -a bimensual rhythm. Nature, 230 (2), 337.
Wynn, V. T. (1972). Measurements of small variations in `absolute' pitch. Journal of Physiology, 220, 627-637.
Wynn, V. T. (1973). Absolute pitch in humans, its variations and possible connections with other known rhythmic phenomena. In G.A. Kerkut and J.W. Phillis (Eds). Progress in Neurobiology, Volume I. Oxford: Pergamon, 111-149.
Wynn, V. T. (1992). Absolute pitch revisited. British Journal of Psychology, 83, 129-131.
286 Young, R. L. and Nettelbeck, T. (1995). The abilities of a musical savant and his family. Journal of Autism and Developmental Disorders, 25, 231-247.
Zakaay, D.; Roziner, I. and Ben-Arzi, S. (1984). On the nature of absolute pitch. Archive fur Pyschologie, 136, 163-166.
Zatorre, R. J. (1989). Intact absolute pitch ability after left temporal lobectomy. Cortex, 25, 567-580.
Zatorre, R. J. (2003). Absolute pitch: A model for understanding the influence of genes and development on neural and cognitive function. Nature Neuroscience, 6 (7), 692-695.
Zatorre, R. J. and Beckett, C. (1989). Multiple coding strategies in the retention of musical tones by possessors of absolute pitch. Memory and Cognition, 17(5), 582-589.
Zatorre, R. J.; Perry, D. W.; Beckett, C. A.; Westbury, C. F. and Evans, A. C. (1998). Functional anatomy of musical processing in listeners with absolute pitch and relative pitch. Proceedings of the National Academy of Sciences of the United States of America, 95 (6), 3172-3177.
287