Abstract：
Piano tone localization at the performer\'s listening point is a multisensory process involving audition, vision, and upper limb proprioception. The consequent representation of the auditory scene, especially in experienced pianists, is likely also influenced by their memory about the instrument keyboard. Disambiguating such components is not obvious, and first requires an analysis of the acoustic tone localization process to assess the role of auditory feedback in forming this scene. This analysis is complicated by the acoustic behavior of the piano, which does not guarantee the activation of the auditory precedence effect during a tone attack, nor can it provide robust interaural differences during the subsequent free evolution of the sound. In a tone localization task using a Disklavier upright piano (which can be operated remotely and configured to have its hammers hit a damper instead of producing a tone), twenty-three expert musicians, including pianists, successfully recognized the angular position of seven evenly distributed notes across the keyboard. The experiment involved listening to either full piano tones or just the key mechanical noise, with no additional feedback from other senses. This result suggests that the key mechanical noise alone activated the localization process without support from vision and/or limb proprioception. Since the same noise is present in the onset of the full tones, the key mechanics of our piano created a touch precursor in such tones that may be responsible of their correct angular localization by means of the auditory precedence effect. However, the significance of pitch cues arriving at a listener after the touch precursor was not measured when full tones were presented. As these cues characterize a note and, hence, the corresponding key position comprehensively, an open question remains regarding the contribution of pianists\' spatial memory of the instrument keyboard to tone localization.
摘要：
钢琴音定位在表演者的听音点是一个涉及试听的多感官过程，愿景,和上肢本体感受。听觉场景的后续表现，尤其是经验丰富的钢琴家，也可能受到他们对乐器键盘记忆的影响。消除这些组件的歧义并不明显，首先需要对声学音调定位过程进行分析，以评估听觉反馈在形成该场景中的作用。钢琴的声学行为使这种分析变得复杂，这不能保证在音调攻击期间激活听觉优先效应，在随后的声音自由演变过程中，它也不能提供强大的耳间差异。在使用Disklavier立式钢琴（可以远程操作并配置为使其锤子击打阻尼器而不是产生音调）的音调定位任务中，23位专家音乐家,包括钢琴家,成功地识别了键盘上七个均匀分布的音符的角度位置。实验包括听完整的钢琴音调或只听关键的机械噪音，没有其他感官的额外反馈。该结果表明，仅关键的机械噪声就激活了定位过程，而没有视觉和/或肢体本体感受的支持。由于在全音调的开始时存在相同的噪声，我们钢琴的关键力学在这样的音调中创造了一个触摸前体，这可能是通过听觉优先效应来实现它们正确的角度定位的原因。然而,当呈现完整的音调时，没有测量在触摸前驱之后到达听众的音调提示的重要性。当这些线索表征音符时，因此，相应的关键位置全面，关于钢琴家对乐器键盘的空间记忆对音调定位的贡献，仍然存在一个悬而未决的问题。
