Figure 1. The pitch class circle. More about this image found in The pitch class circle.

Figure 2. Spectrograms of single notes varying in pitch (columns) and timbre (rows). Note. Audio files (created with Ableton Live and spectrally analyzed with Audacity) are available in the Supplementary Materials accompanying this paper at online.ucpress.edu/mp for each note. More about this image found in Spectrograms of single notes varying in pitch (columns) and timbre (rows). ...

Figure 3. A helix representation of the relation between pitch height and chroma. Note. Pitch height is continuous, increasing with each note. In contrast, pitch class (or chroma) is cyclical, with each pitch class repeating every 12 semitones (i.e., one revolution = 1 octave). More about this image found in A helix representation of the relation between pitch height and chroma. No...

Figure 4. Three versions of the same melody. Note. Audio files, created with MuseScore, are available in the online Supplementary Materials for each version. More about this image found in Three versions of the same melody. Note. Audio files, created with MuseSc...

Figure 5. Test phase results of Experiment 3 of Iorio et al. (2024 ) with standard error bars. Note. The dashed line indicates chance-level guessing. More about this image found in Test phase results of Experiment 3 of Iorio et al. (2024) with standard er...

Figure 6. Learning phase response times (left) and test phase percentage correct results (right) of Henry and Schmidt (2024 ) with standard error bars . Note. The dashed line in the figure to the right indicates chance-level guessing. More about this image found in Learning phase response times (left) and test phase percentage correct resu...

Figure 7. Schematic representation of the modulatory influences of genetics, early music training, and learning environment on pitch identification learning. More about this image found in Schematic representation of the modulatory influences of genetics, early mu...

Figure 8. How modulations of asymptote and learning rate would affect AP learning following the power law of practice. Note. The asymptote, a , is varied in the top figure, whereas the learning rate, c , is varied in the bottom figure. The improvement possible, b , is fixed at 3 – a . Scores... More about this image found in How modulations of asymptote and learning rate would affect AP learning fol...

Figure 1. Interaction effects of categorical measures on mean participant ratings for (A) pitch interval and (B) interonset interval. Note: Error bars show 95% confidence intervals. More about this image found in Interaction effects of categorical measures on mean participant ratings for...

Figure 2. Illustrative training and prediction domains for Experiment 2 measures. Recognition moment task : For a given recognition moment (shown here for the first moment but applied to all four), domains used for model training only are shown with dashed lines and model prediction only with a s... More about this image found in Illustrative training and prediction domains for Experiment 2 measures. Re...

Figure 3. Fitted linear relationships of internal unpredictability predicting mean stimulus ratings using pitch interval and interonset interval representations. Note: Shaded regions show 95% confidence intervals. More about this image found in Fitted linear relationships of internal unpredictability predicting mean ...

Figure 1. Scatterplot of eight stimuli: (1) WON (Stevie Wonder - Superstition), (2) KOU (Bassekou Kouyate - Bala), (3) CAS (Cash & Carry - Tchip Tchip), (4) MAL (M. Guinia/P. Sanders - Hamdouchi), (5) ANG (Angelite & Moscow Art Trio - Sunrise), (6) MAH (Gustav Mahler - Symphony No. 3 (6th ... More about this image found in Scatterplot of eight stimuli: (1) WON (Stevie Wonder - Superstition), (2) K...

Figure 2. Results of confirmatory factor analysis of the target model. α : Cronbach’s alpha, arrows from the left: factor coefficients, arrows from the right: uniquenesses, two-way arrow: Pearson correlation. More about this image found in Results of confirmatory factor analysis of the target model. α : Cronbach’...

Figure 1. Musical examples of the Picardy Third from two contrasting periods in Western music history. A) J. S. Bach, Fugue No. 2 in c minor, BWV 847, mm. 28–31. Arrows point to final chord, a major tonic chord representing the Picardy Third. Roman numerals are provided under the dominant (V) and ... More about this image found in Musical examples of the Picardy Third from two contrasting periods in Weste...

Figure 2. Background information on cadences and stimuli. A) Chord sequences used as stimuli. Chord sequences with a major pre-cadential context are to the left and bounded in red. Chord sequences with a minor pre-cadential context are to the right and bounded in blue. The cadence types, which are... More about this image found in Background information on cadences and stimuli. A) Chord sequences used as ...