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This essay is a short outline of some of the strange ideas surrounding the phenomenon of perfect pitch. There is still a lot to be learned on the subject of perfect pitch and so disagreeing theories are to be expected, where sometimes both viewpoints have merit. These exist when it comes to uncertainties like whether it can be learned, for example. How can it be learned? However, some ideas on the topic are just plain crazy. This paper is concerned with these crazy theories. For piano skills, see pianoforall.
Firstly there is a commonly held belief that perfect pitch is simply a highly developed sense of relative pitch. This is simply not so. Someone who has relative pitch skills needs a reference note before being able to tell which note they are hearing, even when their skills are developed to the maximum level. A high degree of relative pitch ability is important, some would say much more important than perfect pitch. However, it does not lead to developing perfect pitch. The two abilities are not the same.
Another weird idea is that perfect pitch is seen as normal in Asia and not rare like it is in the west. This idea is explained by the fact that some Asian languages are tonal. There are some who are mistaken into thinking that words in these languages have different meanings depending on the pitch. This is not true and is not how tonal languages work. In languages like Chinese, it is the tonal shape of the vowel, which changes the meaning, not the absolute pitch. In other words, the way the tone rises or falls. Cantonese has five inflections, including fall-then-rise and rise-then-fall. The absolute pitch of the voice is not relevant to the meaning. Studies into this area have shown nothing significant. Some subjects in a test will have a tendency to speak certain phrases with approximately the same pitches from one day to the next, except for the occasional time when they do not. No matter how the statistics may be presented, these results do not indicate that the subjects have perfect pitch.
One other notion is that a person with perfect pitch always knows where sounds are on the scale by way of references from their environment. For example, the pitch of the beeper on a microwave. So, the person has a sense of pitch when it beeps, which he retains until the next familiar sound, like the doorbell. The doorbell re-enforces his feeling for concert pitch until the phone rings and so on. There is no benefit to living your life like this and it is not perfect pitch. Short term tonal memory is something that most people have. Someone who has perfect pitch, knows a tone he hears randomly just after waking up and could be locked in a room for days with no sound and still be able to identify a pitch. Is there a skill for perfect pitch training.
The next idea is also quite dubious. It is the theory that illness alters the perfect pitch perception. Obviously, if an illness leads to madness or deafness, perfect pitch may be affected. However, having the flu is not sufficient to excuse a person making a mistake in identifying a clear pitch, assuming they have claimed to have perfect pitch. Mozart spent a great deal of his life with illnesses. A person who is learning perfect pitch is likely to make more mistakes when ill or tired but that is a different case.
The last theory to be discussed is the one of a perfect pitch gene. It may not seem like a mad theory but there really is little evidence to even suggest that perfect pitch is purely genetic. Perfect pitch is not known to be passed on to children. More often, a non-perfect pitch musician finds that hi child has it. The obvious conclusion is that the musical environment, in which the child grew up, was the important factor. Genetics may play a role in almost every part of the human condition, but in the case of perfect pitch, there are more important factors. There is more about this here: learn perfect pitch.
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