MIYAZAKI Ken'ichi Professor Department of Psychology Faculty of Humanities Niigata University miyazaki@human.niigata-u.ac.jp
			Last updated:　Thu. July 16, 2020
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Research Area

• Cognitive Psychology
• Psychology of Hearing
• Psychology of Music

Specific Research Interests

• Pitch perception
• Frequency selectivity in hearing
• Absolute pitch and relative pitch
• Perception of musical pitch musical intervals, melodies, and harmony
• Auditory perceptual grouping
• Attention and memory in hearing
• Auditory Stroop effects
• Ear asymmetry

Publications (request of reprints should be sent to miyazaki@human.niigata-u.ac.jp)

• Miyazaki, K. Pitch chromas and scale-degree qualia: Reconsidering absolute pitch and relative pitch. Proc. Auditory Res. Meeting, The Acoustical Society of Japan, Vol. 49, No. 8, H-2019-109 (2019). PDF
• Miyazaki, K., Rakowski, A., Makomaska, S., Jiang, C., Tsuzaki, M., Oxenham, A.J., Ellis, G., and Lipscomb, S.D. Absolute pitch and relative pitch in music students in the East and the West: Implications for aural-skills education. Music Perception, 36(2), 135-155 (2018). PDF
• Miyazaki, K. (2014) Myths of Absolute Pitch: Science reveals the true pictures (Zettai Onkan Shinwa). Kyoto: Kagaku-Dojin (in Japanese)
• Miyazaki, K. (2013) Misunderstandings about absolute pitch. Journal of the Acoustical Society of Japan, 69(10), 562-569 (in Japanese). PDF
• Miyazaki, K., Makomaska, S., and Rakowski, A. (2012) Prevalence of absolute pitch: A comparison between Japanese and Polish music students. Journal of the Acoustical Society of America, 132(5), 3484-3493. PDF
• Miyazaki, K. (2007) Asolute pitch and its implications for music. Archives of Acoustics, 32(3), 3-14.
• Rakowski, A. and Miyazaki, K. (2007) Absolute pitch: Common traits in music and language. Archives of Acoustics, 31(1), 5-16
• Miyazaki, K. and Ogawa, Y. (2006) Learning absolute pitch by children: A cross-sectional study. Music Perception, 24(1), 63-78
• Miyazaki, K. (2005) Verbal encoding in musical pitch recognition by absolute-pitch possessors. Japanese Journal of Cognitive Neuroscience, 7, 67-70 (in Japanese).
• Itoh, K., Suwazono, S., Arao, H., Miyazaki, K., and Nakada, T. (2005) Electrophysiological correlates of absolute pitch and relative pitch. Cerebral Cortex, 15, 760-769.
• Miyazaki, K. (2004) Recognition of transposed melodies by absolute-pitch possessors. Japanese Psychological Research, 46, 270-282. Abstract PDF
• Miyazaki, K. (2004) How well do we understand absolute pitch? Acoustical Science & Technology, 25, 426-432 PDF
• Itoh, K., Miyazaki, K., & Nakada, T. (2003) Ear advantage and consonance of dichotic pitch intervals in absolute-pitch possessors. Brain and Cognition, 53, 464-471. Absract
• Miyazaki, K. & Rakowski, A. (2002) Recognition of notated melodies by possessors and non-possessors of absolute-pitch Perception & Psychophysics, 64, 1337-1345. Abstract PDF
  Miyazaki, K. & Rakowski, A. (2002) Percepcja melodii prezez osoby ze sluchem absolutnym i bez sluchu absolutnego. In Andrzej Rakowski (Ed.), Ksztaltowanie i percepcja sekwencji dzwiekow muzycznych (pp. 100-124). Warszawa: Akademia Muzyczna im. Fryderyka Chopina (in Polish).
• Miyazaki, K. (1998) A System for Experiments on Music Perception and Cognition using Apple Macintosh and HyperCard . Journal of Music Perception and Cognition, 4, 100-111 (in Japanese). Abstract
• Miyazaki, K. (1995) Perception of relative pitch with different references: Some absolute-pitch listeners can't tell musical interval names. Perception & Psychophysics, 57, 962-970. Abstract
• Miyazaki, K., Ishii, R, and Ogushi, K. (1994) Relation between absolute pitch and relative pitch for music students. Journal of the Acoustical Society of Japan, 50, 780-788 (in Japanese) . Abstract
• Miyazaki, K. (1993) Absolute pitch as an inability: Identification of musical intervals in a tonal context. Music Perception, 11, 55-72. Abstract
• Miyazaki, K. (1992) Perception of musical intervals by absolute pitch possessors. Music Perception, 413-426. Abstract
• Miyazaki, K. (1990) The speed of musical pitch identification by absolute pitch possessors. Music Perception, 8, 177-188. Abstract
• Miyazaki, K. (1989) Absolute pitch identification: Effects of timbre and pitch region. Music Perception, 7, 1-14. Abstract
• Miyazaki, K. (1988) Musical pitch identification by absolute pitch possessors. Perception & Psychophysics, 44, pp. 501-512. Abstract

  Other papers

• Miyazaki, K., Jiang, C., Makomaska, S., Rakowski, A. Cross-cultural comparisons of absolute pitch and relative pitch in music students in different countries. In J. Ginsborg, A., Lamont, A., M. Phillips, and S. Bramley (Eds.), Proceedings of the Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music, 17-22 August 2015 (ESCOM 2015), Manchester, UK.
• The Auditory Stroop Interference and the Irrelevant Speech/Pitch Effect: Absolute-Pitch Listeners Can't Suppress Pitch Labeling. Paper presented at the 18th International Congress on Acoustis (ICA 2004), Aril 4-9, 2004 (Kyoto, Japan). Abstract
• Miyazaki, K. (2000) Interaction in musical-pitch naming and syllable naming: An experiment on a Stroop-like effect in hearing. Proceedings of the International Symposium on the Neuroscience of Music (October 15-17, 1999, Niigata, Japan). Absract
• The Cognitive Process of Musical Pitch by Absoluute-Pitch Listeners (Mar. 1999). Report of Researh Project, Grant-in-Aid for Scientific Research (C), 1997-1998 (in Japanese)
• Interaction in Musical-Pitch Naming and Syllable Naming: An Experiment on a Stroop-like Effect in Hearing (Nov. 1999). Paper presented at the Meeting of the Japanese Society of Music Perception and Cognition, Kyoto (in Japanese)
• Interaction of Musical Pitch and Pitch Syllables: An Auditory Stroop Phenomenon in Dichotic Listening. (Technical Comittee of Psychological and Physiological Acoustics, The Acoustical Society of Japan. Dec., 2000、Fukuoka) (in Japanese)

Academic Activities

• The Japanese Psychological Association
• The Acoustical Society of Japan
• The Japanese Society for Music Perception and Cognition

Teaching (2001)

• Methods of Psychological Research I
• Cognitive Science I
• Seminar - Psychology I, II
• Basic Psychology (General Education)
• Congitive Psychology of Sound and Music (General Education)
• Cognitive Science (Master Course)
• Practice in Cognitive Science (Master Course)
• Perceptual Information Processing (Doctor Course)