Solmization

Abstract: The modern movable-Do solmization system based on syllables devised by Guido d'Arezzo was modified and pieced together over centuries by various scholars and pedagogues, each with their own rationale. To date, considerations of the movable-Do system have not sufficiently examined the effects of the vowels contained within its solfège syllables. While vowels have been thoroughly analyzed among vocal pedagogues, that information has not been adequately transferred to the realm of aural theory. Individual vowels contain perceptual qualities and intonational tendencies, due to their physiological articulation and acoustic properties. This document relates vowel characteristics with the solfège syllables used in the movable-Do solmization system, and explores potential implications contained therein. iii Author's Acknowledgements This thesis would not have been possible without Mrs. Lois Nassen, who provided my musical foundation; Dr. Donald Simonson, who taught me to understand my voice; Dr. James Rodde, who inspired my love of choral music; and Dr. Jeffrey Prater, who fostered my passion and deep appreciation for aural skills by being a teacher, mentor, and friend.

Abstract: The simplest and likeliest assumption concerning the cognitive bases of absolute pitch (AP) is that at its origin there is a particularly skilled function which matches the height of the perceived pitch to the verbal label of the musical tone. Since there is no difference in sound frequency resolution between AP and non-AP (NAP) musicians, the hypothesis of the present study is that the failure of NAP musicians in pitch identification relies mainly in an inability to retrieve the correct verbal label to be assigned to the perceived musical note. The primary hypothesis is that, when asked to identify tones, NAP musicians confuse the verbal labels to be attached to the stimulus on the basis of their phonetic content. Data from two AP tests are reported, in which subjects had to respond in the presence or in the absence of visually presented verbal note labels (fixed Do solmization). Results show that NAP musicians confuse more frequently notes having a similar vowel in the note label. They tend to confuse e.g. a 261 Hz tone (Do) more often with Sol than, e.g., with La. As a second goal, we wondered whether this effect is lateralized, i.e. whether one hemisphere is more responsible than the other in the confusion of notes with similar labels. This question was addressed by observing pitch identification during dichotic listening. Results showed that there is a right hemispheric disadvantage, in NAP but not AP musicians, in the retrieval of the verbal label to be assigned to the perceived pitch. The present results indicate that absolute pitch has strong verbal bases, at least from a cognitive point of view.